the thing that frustrates me the most is people saying "its just the 3rd day" my brother in christ, the members dont know for how long they will have to pause their lore that they have been building up to for god knows how long for this
like yeah, its one thing to say about the items and the grinding which ngl i dont give a fuck that they lost those, but lore specific items being lost for who knows how long is annoying. i'm sorry that some of the most attractive things of the qsmp is the individual character driven lore and how frustrating it is that time and time again it had to be paused for the overall island plot to suddenly be brought up in the most unconvenient way as if they didnt forget about it for like 4 months
one of my biggest issues with the qsmp story is how it doesnt wrap up things, and if it does it somehow feels underwhelming, most of it being from the players not even being able to participate on it and had to be informed of what went on by a "third party". like hell how many times do we have to pause resolving loose ends for another event that who the hell knows what will happen that will deviate the main plot for the next month or so again
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You know I feel like the placement of Beast Yeast and Odyssey is kind of confusing for newer players, especially if they don’t really interact with the fandom and know when the stories are supposed to take place
Odyssey’s not as bad, but you unlock it after finishing Episode 12, when it only happens after Episode 14, after the Dark Cacao storyline. It’s probably not the worst thing, but if you decide to start it after Episode 12, I feel like it could be confusing as to why Dark Cacao’s there at the least, since you haven’t met him or you’ve only barely seen him if you’ve started Episode 13
But as for Beast Yeast, you unlock it after finishing Episode 8, despite it taking place after both Odyssey and probably more importantly, Episode 18. Heck, you unlock it right before the Pure Vanilla story. So I mean starting off, you might not even understand why Pure Vanilla’s there. As I recall, you don’t really know what happened to Pure Vanilla by that point and that he’s still around, we were still led to believe he’s dead, right? And then you don’t really have the full context as to why they’re in Beast Yeast, since we only get the reason at the end of Episode 18, or who the Crème Republic is that gave them the airship, and if the other Ancients are referenced later on, what the heck they’re doing there. I mean okay, it might not be incomprehensible, players can probably understand that these are story events they just haven’t seen yet, but why place unlocking it so far behind the rest of the story? Because those new players don’t have context for over half the story by this point
Yeah it’s not as confusing for us already having played the game and being there when the story updates come out, but what about newer players who don’t have that context and maybe don’t interact with the fandom that much to know what’s going on?
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spn pilot where it all starts out the same but when dean breaks into sams apartment and they spar, dean is going too far and is genuinely trying to knock sam out. and sam cant keep up.
sam wakes up injured and woozy in the back of the impala. the energy is tense and fucking scary. dean looks into the backseat via the rearview mirror and sam recognises him. dean tells him johns gone. he died a week ago on the hunt and deans been trying to piece his death together. and he cant do it alone. wont do it alone. hes not entertaining sam anymore by letting him think he can just get out of the life and stay out.
sams not happy about it. its a fucked up situation. but in trying to live a normal life hes realised how he cant connect with people. he cant tell people about the way he was raised. the only people who can ever understand him is his own family. and all thats left of that family is dean.
dean doesnt let sam out of his sight and keeps him locked in motel rooms when sams not taken along on a hunt. it slowly becomes more and more of a stockholm-y situation where sam empathises with dean and choses not to leave even after he gets the opportunity to (after all, hes the only person who can understand him)
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Art in HotD - 1x04 “King of the Narrow Sea”
(more art in Westeros) - (more art in HotD)
I didn’t set out to do an episode by episode analysis, but it’s not my fault this show keeps giving me material, so,,, Also I’m sorry for not embedding the references in the post and linking them out instead, but Tumblr keeps a ten images limit per post and I’d rather anchor the commentary in screencaps.
The episode opens with a look at the inside of Storm’s End (which we never got a description of in the books because all the action happens outside). It’s very spartan and undecorated, which sort of tracks with the Baratheon vibe.
Back in King’s Landing, we get a shout out to the textile art of Qohor and Norvos, which shows that they really are doing their homework because the tapestries are only mentioned in passing in the books when describing the council room. Unfortunately we don’t get to actually see them because Viserys decides to be a dick about it to Alicent. Boo.
We get a good look at the fresco under the wisteria arbor in the godswood. It seems like another instance of Valyrian taste being inspired by Roman antiquity, as it’s reminiscent of Roman garden painting:
It seems to be a more naturalistic, loose style of painting compared to both the more archaic looking erotic art from inside the Keep and the “international Gothic” style painting behind Viserys in the previous episode. This decorative naturalism tracks with both the paintings we got from imperial Rome, and the Renaissance approach to landscape.
Are those braziers to the left here dragon shaped or griffin shaped? the way the wings are rendered makes me unsure, but I would actuaally love if - kind of like in the real Middle Ages - the heraldic representation of animals wasn’t entirely accurate (see also the Velaryon seahorse sigil). Or it might really be a griffin, a Connington gift or an Essosi import just like the aforementioned tapestries. I also wondered how many pieces on set were commissioned and how many bought ready made because they fit with the aesthetic.
The dragon in Rhaenyra’s room. At least she doesn’t get sex/fertility art in the room where she supposedly grew up. My immediate reaction to the picture, however, was to associate it with the erotic paintings because it’s sort of flat and the lines are bold, but it’s also very flowery and ornate in a way that I associate more with the hunt painting from episode three that I “dated” to Jaehaerys’ reign. On the other other hand, the fact that it hides/signals a secret passage makes me think this might also come from Maegor’s reign.
And now, on to the good stuff: the scene where Daemon is banished to the Vale by Viserys gives us a clear, well lit look at the columns in the throne room. Let’s rewind the tape for a moment: the Great Hall in GoT looked like this...
It makes sense that it looks different two centuries later, and it has become richer and more refined. It also makes sense that Robert’s regime would have tried to hide or destroy the Targaryen signifiers around the Keep as much as possible (though in the books it seems limited to Robert taking down the dragon skulls and no substantial structural change is mentioned). But I also think HotD is jumping at the chance to imbue its design choices with lore in a way that GoT never cared to do, so - besides having an Iron Throne that’s more in line with how it’s described in the books - it makes the throne room another celebration of the history of House Targaryen. And once again it does so by looking at Imperial Rome: enter Trajan’s Column.
Trajan’s column was a monumental column, and as such didn’t serve a structural purpose like the ones in the Great Hall, but like their obvious inspiration they seem to depict war scenes - if you enlarge the screenshots above you can see soldiers wearing helms, warriors on horseback, archers, and in the bottom frame of the column on the right what seems like a cluster of shields (maybe a callback to the testudo formation, also depicted on Trajan’s column?)
The middle row here is the most interesting because it seems to depict a dragon wing flying over soldiers, while a crowd overlooks the scene from a balustrade (possibly cheering for the dragon?). If we assume that these columns have been designed with the Roman blueprint in mind, the narrative should be continuous across the different rows, so it’s unlikely that this scene is the conclusion of a war as it’s in a middle row.
Hard to tell which war, though. The armors and weapons depicted are stylized enough that it’s difficult to date them or even place them geographically; these could be scenes from the Conquest (the first two Dornish wars?), or wars from Valyrian history. Either way, this version of the Great Hall has been designed so that people who enter it see not only grandiosity, but also a long and victorious history; makes sense especially because relatively to Westeros, Targaryens are *new* and foreign, even more so when the Keep was built. The decorations on this most public facing room establish loud and clear that the house of the dragon is strong and has a history, something the sometimes very old nobility of Westeros has got to respect - and fear.
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