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solarswonderland · 2 months

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pre-midlife crisis

genre: fluff

pairing: bf!sunghoon x gn!reader

wc: 0.5k

summary: a boring day

warnings: cursing, uno, attempted (cringe) humor

masterlist

“i’m telling you, there is no R, you lose.”

“are you kidding me? i’m sure you could add something!” sunghoon complained.

“i already added a belt, 5 earrings, a fanny pack, and an extra arm. what more do you want from me?” you deadpan at your boyfriend.

he sighed in defeat.

“i don’t like hangman anymore.”

“because you lose?” you asked him, stifling your laughter.

“shut up...” he mumbles, grabbing a slice of pizza.

“ok what about we play a different game, like…” you dug through your closet. “...scrabble?”

“another word game? it's like you want me to be miserable!” sunghoon whined, stuffing his face into a pillow.

“ok, ok…what about rock-paper-scissors?” you asked him, grabbing a cheeto from the bowl next to you.

“basic ass bitch.” he mumbled with his head still stuffed in the pillow.

you threw a cheeto at him, “then you choose the game! don’t attack me cause youre bad at everything.”

“bad at everything? wanna have a dance battle?” he raised his eyebrows in question, with a smirk on his face.

“i can barely walk straight, i am not dancing.”

“i can teach you.”

“so that i embarrass myself and you laugh at my misery? no, thank you.” you shudder.

“i swear i wont laugh. just let me teach you!” he said, dramatically falling at your feet.

you sighed. “alright then, but one wrong move and you're dead.”

“no no- put your leg here then- NO not there- put it here then kick forward and dro- NO YOURE GOING TO KILL YOURSELF-”

you plopped on the floor and lay down, breathing rapidly.

“i suck at dancing.”

“you really fucking do..” he deadpans at you, earning a slap on his head.

“youre the one that decided future perfect was a good beginner’s song.”

“...fair enough”

“so, now what?” you look at him from the floor.

he dug into his backpack and pulled out a deck of cards.

“what do you think about uno?” he asked.

“that never ends well...” you said hesitatingly.

“let's find out then…” he replied, shuffling the cards.

sunghoon places a colour change wild card.

“i change the colour to red!” he said.

you smiled.

“thank you, and sorry hoon.”

you placed a red +2 card.

sunghoon looked at you in defeat before placing a +4 card on top.

“hey you cant do that!” you complained.

“my game, my rules.” he said smugly.

“literally no one plays the game like that…”

“but i do!”

“it makes no sense! just pick two goddamn cards.” you said.

he huffed. “fine”

he picked up two cards.

you placed your last second card.

“uno!”

sunghoon looked at you as if you had just kidnapped his dog.

“+4???? ARE YOU TRYING TO BREAK OUR RELATIONSHIP???”

“no, im literally just better at this game than you are.”

“i give up.” he said, sulkingly throwing his cards in the air before lying on the floor, defeated.

just then, niki walked into the room.

“yo whats up with him?” he asked, pointing at sunghoon.

“hes going through a midlife crisis.” sunghoon’s head snapped up.

“its a PRE midlife crisis, thank you very much.”

taglist: open!

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spiderpussinc · 9 months

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who you mind sharing some spiderdads headcanons you have, or do "the explain your otp in 5 minutes" meme? no pressure though! i love your art and fic too

im soooooo bad at this kind of question bc i kinda love thinking about a bunch of different/concurrent options like. you know how every fic is its own universe and you watch the same steps happen with little alterations so the same guys fall in love 101 times that's my brain... HOWEVER I've been thinking a LOT about ITSV Peter/Miguel lately --

Either comic-canon based settings where he's the usual single hero in his natural habitat OR directly /before/ ITSV itself; divorced midlife crisis spider-man who's always struggling to make rent is SUCH a good spot for Peter's stakes, and it sucks how people just want to make him rich or magically the avengers solve all his problems to basically erase what makes him compelling. I think its a good choice the spidey movies do -- to make it all a lot more ground-level, without outside interference -- so he has to make the tiny decisions.

Miguel getting stranded in the past!! HOW COME THERE'S SO LITTLE STUFF ABOUT MIGUEL AND PETER MEETING IN THE PAST? Doesn't need to be ATSV plotline compliant. A macguffin gets him there, or sends him to Peter's universe, come on! The important part is having them on a ground level sandbox.

THE REAL FUN STUFF: The cheesiest stupidest meetcutes you could ever imagine. Endless possibility. Spitballing: Peter/Miguel being unaware of each other's identities and renting the same apartment because neither of them has the funds to fly solo. Peter being suddenly spooked by the appearance of a brand new edgy spider-man in the vicinity. After all these years. Miguel not knowing how much he can say because Peter's sort of convinced this is a villain ploy of some sort to fuck up his public persona.

REAL-LIFE, both of them are suspicious about the other as a Weird Fidgety Roommate type. Neither can complain much because, again, it's rent on NY. You mind or business. or not.

Maybe Alchemax doesn't even exist in this universe, tipping Miguel off that this is an alternate timeline and he's really on his own. Maybe the ruling company here is Roxxon or Future labs or whatever; there's a lot of those in comics. He kind of HAS to eventually come clean about being universe-displaced to this world's Spider-man -- Peter begrudgingly accepting that there's a second spider-guy around on the condition that Miguel isn't gonna do anything catastrophic while he's here to completely blow up Peter's image, or give J.J. Jameson fodder to attack him.

Maybe they start working together. Maybe it's a casual partnerships thing where they happen to be tracking the same shady incident and decide to wrap it up as a duo; maybe they just agree to patrol the neighborhood together on busy weeks since they just.. suspiciously... seem to be around at the same place... at the same time... overly concerned abt the same shit....

Miguel has a superhuman investment in Not Letting This World Turn into a Future Dystopic Hellhole; Peter just kind of wants to live and solve problems as they come by but these two motivations really synergize. Peter doesn't even need to ask why, just damn okay dude!!!!!!!!!!!!!! Respect!!!!!!!!!!!!!!!!!1!1!!1!

Secret Identity investigations. Secret Identity mishaps. Secret Identity fumbles. Lyla accidentally busting out that Peter Parker is Spider-man via advanced facebook voice recognition fuckery. (LOL) Hell, maybe in THIS Miguel's version of 2099 it was already revealed Peter is spider-man, after he died. How'd he die? Maybe it was a bad end. How does Miguel feel about that? About meeting with a ghost? Endless possibility.

EVEN MORE FUN STUFF: both of these guys are *SO* intensely defined by a lack of support system around their secret identities. WALLOWING in guilt. Spider-man always seems to ruin their lives, in the worst ways. They're too proud to let normal people intervene, or the ppl themselves deeply resent the fact Spider-man exists. It's fun to think of a reversal scenario where Peter/Miguel have each other's backs, can help the other dress wounds, can show up in a pinch to prevent disaster from occurring with some supervillain 10 blocks away while Peter is trying to land a new job interview as a highschool teacher or science columnist. IDK It doesn't have to be constant uphill battle to get someone else to understand why they do what they do and what the stakes are; they're the same kind of crazy.

And okay, maybe you don't want the spidersonas falling in love before their real identities do..... still VERY ripe options around for Miguel sneaking home with a limp or a really fucked up arm and his healing factor isn't nearly as good as Spider-man Prime's, so Peter is like 'WHAT the FUCK happened to you?' And even though he can tell Miguel is lying. He is not going to bust him out for it. Because he's been lying for 20+ years. Instead, Peter just takes it upon himself to teach him how to get his shit fixed. Temporary armslings and icepacks and sprays and current-time medication that is different to what Miguel is used to in the future; friendly neighborhood Peter Parker who minds his business and will not ask you if you're secretly Daredevil for Reasons but that will, however, tell you to stop blocking attacks with your fucking head. He learned this lesson earlier than most superheroes.

(The reverse scenario is still sweet! Peter's taciturn roommate who wears sunglasses indoors and is weirdly secretive about everything seeing him come home with a busted out eye and hes like damn. Do you want to split a pizza or whatever. You look like shit)

Miguel is not actually as experienced as Peter! He /could/ use the tips!!! Peter has been Spider-man ever since he was 15 years old. Miguel became Spider-man due to a freak accident at MAXIMUM 4ish years ago. Probably less. Figuring out how to do it not alone would be genuinely a good experience for him.

Miguel moe x1000 as the future man who kinda doesn't get the weird counterintuitive way things work present-time 💔 flipside; Miguel seeing the beginnings of bad future patterns like musk trying to buy twitter and deciding to take matters into his own hands. sorry this is just hilarious to me. Even if he's not beating these guys up its still awesome to imagine him as an insane ranting tech essayist who goes on hour-long takedowns of NFTs on youtube or being like GOD WE NEED VACCINES TO BE COOL AGAIN FUCKKKK

Among all of this though, I think one of the most appealing aspects of having them as an unit is that they don't have to lone-wolf shit anymore. (and they Have been lonewolfing it for SO long.) Feels good feels organic

I could go on but I need to actually write and I just... think they can be so entertaining. We don't have to be so dependent on the movie here pulling from regular superhero shenanigans Really works. They sort of complete each other. Immediate productive boost on both of their morales. Get Peter/Miguel pilled with me rn

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randomnumbers751650 · 4 months

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I finally have time to talk about Lone Trail. I will be focusing on its depiction of science, technology and its progress. Will get a bit political, but funnily enough less than I imagined.

The thing that called my attention most in Lone Trail were the discussions on the nature of scientific progress. This is a theme that’s dear to me and the stuff I research about. It’s easy to think of scientific progress like an inevitable march forward, like an escalator. After all, we are much richer than we were before, right? Go to OurWorldInData dot org to play around with economic statistics in time – make sure to check the World GDP chart, from year 0 to 2000 and see it taking off like a rocket from year 1700.

What kind of Uncle Ted fan or neoluddite would go against that? Haha…hah…

Truth is that, although its effects are there, it’s not a clear if this is the little, neat process techbros want us to believe. It’s new and produces more, therefore it’s good, right? I could be writing this as a new wave of AI-generated NFTs pollute my algorithm.

That’s what makes the storytelling in Arknights so effective: it mashes together fantasy and sci-fi to really tell stories on the role of beliefs, technology, science and religion. The Rhine Lab saga is definitely an exploration of technology, with focus on the equivalent of the United States. During the period before the First World War, 1870-1913 (which is the one that Arknights draws most from), the world underwent through the so-called Second Industrial Revolution and I’ve read economic historians considering it the most innovative period in human history. I mean, obviously, there is an absolute number of inventions in our current age, but in relative terms 1870-1913 experienced a much larger number relative to the previous one.

The escalator narrative constructs scientific achievements as work of daring people (mostly men, but there were women like Marie Cuire), that combined science and technology to help mankind, like Prometheus giving mankind fire from the gods (in fact, one of these books is even named “Prometheus Unbound”); more than often they have to fight against the establishment. Remember Ignaz von Semmelweis? He just wanted doctors to wash their hands. Even I learned this standard narrative in the university. But that’s not the entire story.

The positivistic paradigm – of a science free of value judgements, made with the power of math – has actually helped build this escalator narrative. In reality, some scientists and scholars are horrible people. Later, I learned that Semmelweis, as much as he campaigned for the right thing, was a very arrogant person, who abused everyone around him, to the point few people went to his funeral.

Narratives focusing on one single hero are easy to sell and the ones building them are always on the lookout. Remember how ten years ago, a lot of people tried to push the narrative Elon Musk was going to create a new industrial revolution? Nowadays he’s just an arrogant loser who keeps dragging on his midlife crisis. The 1880s also had similar people like that, such as Thomas Edison.

Kristen Wright is definitely better than them both, because she is actually an engineering genius. But she’s also just like them, in the sense of unethical experiments, collusion with the military-industrial complex and being an overall superficially charismatic, but rotten to the core person. And she’s surrounded by a lot of people like Parvis and Ferdinand.

Breaking this line of reason, I have to say how much I hate Nietzsche’s ubermensch and master-slave morality, I hate Great Men theory, I hate Ayn Rand; these people are sheep who think themselves wolves. And before you say that Nietzsche didn’t consider himself an ubermensch, well, neither did Parvis and his reasoning was the same. For every person fancying themselves ubermensch, there’s a lot of those whom he’d call untermensch to clean up their messes. You have no idea of how times I stumbled upon people (especially libertarians) that advocate lower barriers to regulations that were written in blood, so that progress can happen quicker. Creative destruction works, as long as some people get “creative” and others clean the “destruction”. Deaths and injuries? Acceptable, just give them a pension (but fight tooth and nail in the court to not do it beyond the barest of the bare minimum, because it’ll lower the shareholder profit in 0.01%). Increase in inequality? Nobody will care in a few years, it’ll make everything cheaper anyway (look up Baumol’s cost disease to see how wrong that statement is, without being incorrect). I’m not exaggerating, sometimes the people saying that don’t even bother lacing it in politically correct language.

Because Lone Trail showed it “worked” – Kristen Wright broke off the ceiling over Terra and that will have consequences (especially with Endfield coming closer). The data from her experiments will advance science, the sight of a broken ceiling will inspire artists and prompt politicians to act. Was it worth it? Well, it will depend on who you ask (like, Ifrit or Rosmontis would have strong feelings), but it’s just there now. Serious history isn’t kind on this question as well – many technologies have a lot of transgressions, both legal and ethical, in their supply chain (both the American and Soviet space program come to my mind – guess who helped them); the difference between an entrepreneur and a criminal are contextual, because both are finding new opportunities of profit and both interlock frequently.

In the end, anyone can put an equation that has its uses, not mattering if it’s a good person or not. But that is no excuse to find good ethical practices. Silence saw everything with her own eyes and I’m really glad she’s leading the initiative for a more ethical science in Columbia – especially because people who are willing to break moral rules tend also to be willing to break research rules (this is why the “research” made in concentration camps is actually useless, it didn’t respect experimental rules). So I’m really glad for the Arknights writers for understanding these nuances and communicating them to the audience through one of the best stories of the game.

#arknights #lone trail

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firstaidspray · 8 months

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Baldur's Gate 3 Characters and What They Drive

My brother and I discussed this yesterday after he sent me a tweet that was like "what if an orc drove an F-150" or something like that. It turned into a pretty big discussion and resulted in this, images picked by me and peer reviewed by him. These were all the characters I could think of offhand, but if you have any requests or suggestions reply or send me an ask!!

Karlach: Dodge Challenger SRT Hellcat Redeye

A badass hell-themed ride for a badass lady from Hell. Maybe that engine in her heart is a Hellcat...

Gale: Aston Martin DB11 Convertible

Gale is my brother's man so he made this decision, stating "Gale is a man of taste." A convertible for his hair to flow in the wind, obviously.

Shadowheart: Mercedes-Benz G-Class

Shadowheart gives major gwagon vibes. Can't you see her driving this, window half down, and she tips her designer sunglasses down to give you a look?

Astarion: Rolls-Royce Silver Cloud

Take one look at this man and his whole aesthetic and tell me he doesn't drive a Rolls-Royce. This is a vampire car.

Lae'zel: Triumph Street Scrambler

Our first motorcycle on the list, we thought Lae'zel would favor it over a car. You can't see her as anything other than a biker chick, can you?

Wyll: GMC Sierra

Wyll comes from money, yes, but I think he'd want to work hard to afford his own car, and it'd be something practical and utilitarian, and likely a used older model. Humbling yet fitting.

Raphael: Chevrolet Corvette Stingray

I suggested Corvette for Raph and my brother agreed, citing "he has midlife crisis energy (affectionate)" as the reason. And he's right. List of Raphael's midlife crisis things to do: 1. Buy Corvette 2. Cause problems.

Minthara: Ducati SuperSport 950

Another girl I could only see on a bike. A Ducati specifically, as its sleek design fits her and the personal, independent nature of a motorcycle does as well.

Mizora: Cadillac Escalade

Mizora doesn't drive herself in it, but she would like to be driven around in an Escalade. A model that's not too new but not too old for the sake of iconic looks, but she'd probably get it detailed regularly.

BONUS

Halsin and Jaheira: Walking (for the environment)

They don't judge their friends for driving cars, but Halsin and Jaheira prefer to use the mode of transportation the Gods gave them. For the Earth, yaknow.

#baldur's gate 3 #bg3 #karlach #astarion #shadowheart #gale of waterdeep #wyll ravengard #lae'zel #raphael #mizora #minthara #halsin #jaheira #mine #long post

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kay-lalala · 4 months

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PJOTV Episode 5 - I'm sorry but WHAT DID THEY DO TO ARES???

Like... what is this.

They took away his looks, his character, AND his power.

Let me quote the book.

"All conversation in the diner stopped. The motorcycle's headlight glared red. Its gas tank had flames painted on it, and a shotgun holster riveted to either side, complete with shotguns. The seat was leather – but leather that looked like... well, Caucasian human skin."

Really? Not even flames on the bike? No guns (thanks Disney), no human skin leather (thanks Disney).

"The guy on the bike would've made pro wrestlers run for Mama. He was dressed in a red muscle shirt and black jeans and a black leather duster, with a hunting knife strapped to his thigh. He wore red wraparound shades, and he had the cruelest, most brutal face I’d ever seen – handsome, I guess, but wicked – with an oily black crewcut and cheeks that were scarred from many, many fights.“

Yeah...no. “Ares” looks like a random unwashed guy that got kicked out of his unsuccessful Norwegian metal band and is now traveling the country to find himself during his midlife crisis. No knife, not even small details like the red shirt or black jeans. And the sunglasses are entirely unimportant? Also no scars (thanks Disney? I guess?). I’m sorry but NOTHING about him is cool or intimidating.

“As he walked into the diner, a hot, dry wind blew through the place. All the people rose, as if they were hypnotized, but the biker waved his hand dismissively and they all sat down again. Everybody went back to their conversations. The waitress blinked, as if somebody had just pressed the rewind button on her brain. She asked us again, ‘You kids have money to pay for it?’”

Ares is a GOD. He is powerful as shit. WHY IS THE SHOW NOT SHOWING THAT? Instead he is just sitting around on Twitter (Just like with the Fortnite dance. Why are you trying to drag current pop culture stuff into the story?). Give this guy an awesome entrance. For fucks sake, let SOMEONE in this show be intimidating for once. His only power is snapping his fingers to open a door? Lame.

“The biker said, ‘It’s on me.’ He slid into our booth, which was way too small for him, and crowded Annabeth against the window. He looked at the waitress, who was gaping at him, and said, ‘Are you still here?’ He pointed at her, and she stiffened. She turned as if she’d been spun around, then marched back towards the kitchen.”

Ares is an asshole. Let him be a fucking asshole. He doesn’t care about personal space, he doesn’t care about humans, he pushes them around however he wants. Again, he is a God, he is powerful, and he uses his powers however he wants.

“The biker looked at me. I couldn’t see his eyes behind the red shades, but bad feelings started boiling in my stomach. Anger, resentment, bitterness. I wanted to hit a wall. I wanted to pick a fight with somebody. Who did this guy think he was?”

AGAIN, please show Ares’ powers. He makes people angry just by being around them. Even the musical did this better.

“[…] I wanted to rip this guy’s head off. ‘What’s it to you?’ Annabeth’s eyes flashed me a warning. ‘Percy, this is-’ The biker raised his hand. ‘S’okay,’ he said. ‘I don’t mind a little attitude. Long as you remember who’s the boss. You know who I am, little cousin?’ Then it struck me why this guy looked so familiar. […] ‘You’re Clarisse’s dad,’ I said. ‘Ares, god of war.’”

Where is Ares’ power please I AM CRYING. Also Ares is COOL. He’s laid-back, he’s confident, because these kids are not a threat to him. Instead, in the show, he just drives by and stops, starts exposition-dumping, and drives off to the diner. He is missing his character voice, he is missing the powerful entrance, he is missing HIS POWERS. But show Ares sits in the diner, laughing at Twitter on his phone like some loser.

“Ares grinned and took off his shades. Where his eyes should've been, there was only fire, empty sockets glowing with miniature nuclear explosions.”

NO BECAUSE WHERE THE FUCK WAS THAT????????? ‘Your quest is going to fail. Ask me how I know’ HE DOESN’T TALK LIKE THAT. Also why is Annabeth provoking Ares… She’s literally the one smart enough to not do that.

“That’s right, punk. I heard you broke Clarisse’s spear.’ ‘She was asking for it.’ ‘Probably. That’s cool. I don’t fight my kids’ fights, you know? What I’m here for – I heard you were in town. I got a little proposition for you-’ The waitress came back with heaping trays of food […]. Ares handed her a few gold drachmas. She looked nervously at the coins. ‘But, these aren’t…’ Ares pulled out his huge knife and started cleaning his fingernails. ‘Problem, sweetheart?’”

I love this. It shows how Ares is disconnected from the human world, how he doesn’t give a shit, how he threatens people so casually to get his way. How humans mean nothing to him. But this show just LOVES to tell instead of show. Literally these people do not stop talking ever. Ares in the show is like blah blah blah Zeus send his kids to look for the bolt, they will go to war ‘You’re new to the family, young one, so let me fill you in on how we work.’ AND HE TELLS THEM THE STORY OF HOW KRONOS ATE HIS KIDS? STOP? EXPOSITION DUMPING? WHO IS WRITING THIS DIALOGUE??? WHY IS HE BEEFING WITH ANNABETH???

“’Why don’t you go back and get it yourself?’ The fire in his sockets glowed a little hotter. ‘Why don’t I turn you into a prairie dog and run you over with my Harley? Because I don’t feel like it. A god is giving you an opportunity to prove yourself, Percy Jackson.’”

[…] Ares’s fiery eyes made me see things I didn’t want to see – blood and smoke and corpses on the battlefield. “

...Thanks Disney. Please, why does he go off on Annabeth. In the book, Percy doesn’t care about the threats, he rejects the ride west at first, even after Ares mentions his mom he still antagonizes him. And then he just disappears. That’s cool. In the show Ares acts immediately offended, threatens to kill them and Percy immediately agrees. You remember how in the show he didn't agree to go on the quest at first even though the entire world was at stake? Yeah.

So not only does Percy not at all fight and resist Ares, but Annabeth does even though she warns Percy in the book, because she figured him out and would not argue with the literal God of War. She literally said ‘That was not smart, Percy.’ when Percy argues with Ares. None of that in the show.

I’m done with the show. It is a lazy, unimaginative, unfaithful, unserious, passionless, Disneyfied, detail-less adaptation that had me pause the episode several times because I was just baffled. Crowley from Good Omens looks more like I imagined Ares than the show’s Ares.

I won’t even start right now about how they cut out the Iris Message scene, how Ares is the one who told Percy about his mother, or how Grover just gets left behind in the show even though he saves Percy and Annabeth in the waterpark, How they just immediately know it’s Hephaestus in the show (because god forbids it takes them longer than two seconds to figure something out), they didn’t get fresh silly waterpark clothes, no Aphrodite’s scarf, no spiders (that’s literally important to Annabeth’s character? But no way she can be afraid. Let her argue with Ares instead.) no “live to Olympus in one minute”, no “When I say go.” “No! When I say go!” “What?” “Simple physics! Force times the trajectory angle-”, no Grover saving them, no “Shows over! Thank you! Goodnight!”

Instead… Ares hangs out with Grover and proceeds to be the exact opposite of cool and powerful, Percy gets stuck in the waterpark door in a completely pointless scene, more exposition about Hephaestus’ story, the chair thing that captured Percy (why? Ares or Aphrodite would not sit down on that Ares knew it’s a trap. They know the story of the chair. So does Hephaestus want to kill any random person that comes around or what?), “It can’t be undone” and undoes it two minutes later, Annabeth saving Percy not with her intelligence but by having a therapy monologue with Hephaestus, and talking, talking, talking. This show seems to be allergic to action scenes.

“Well. This smells.” → Continues to have no physical reaction or be otherwise fazed by the smell. We love tell don’t show here. <3

They cut stuff and put useless stuff in instead, continue to butcher characters and censor everything. It’s not a good adaptation and it’s not a good show. It’s not horrible, just a 5/10 for me at max. And it’s frustrating to see them not care about the details (so many details that wouldn’t even need extra time. Just extra effort) and the characters. They change things that just fuck up the logic of the entire story later.

What I liked about the episode:

They showed that Gabe is on TV and Percy is missing. Finally. Seaweed Brain. Also finally.

I also hope Grover is wrong about knowing who stole the master bolt because if that ruins the final reveal???????? Huh???

Also please leave me aloneeeeeeeeeeee lin manuel mirandaaaaaaaaaaaaaaaaaaaa why is he everywhereeeeeeeeeeeeeeeeeeee

#pjo #pjato #pjotv #pjo tv show #pjotv spoilers #pjo ares #long post #percy jackson #percy jackson and the olympians #the lightning thief

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cinamun · 5 months

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Hey cin! I have a storytelling question it’s kinda long so I hope it makes sense. When you write TFA is it led by your gameplay or you have a storyline and you use the sims to play that out? And do you have moments where you wanna portray a scene with an animation/video but you post in pics? You don’t have to answer these if it’s too much info or anything but thanks in advance 🫶🏾

Friend, if I love nothing more, I love some storytelling questions. I could talk about sims storytelling for HOURSSSSS!!!!

Okay so....

TFA started as gameplay so I definitely still let gameplay lead at times. For example, Darren really is going through a midlife crisis in the game even if I only alluded to it in the story lol. The entire sex tape scandal when we were introduced to Rahul's momma came from gameplay! The game itself can give us inspo we just gotta use our creative juices to bring it to life. So I would say that the gameplay itself guides the storyline sometimes, most times its my brain which as we all know, is a strange little mass of meat.

I haven't used gifs in awhile but there are so many moments that I want to portray in actual moving pics so, I just make gifs for that and they turn out pretty good.

OMG WHO REMEMBERS THIS!!! lmfao! ANYWAY! I would love to make longer videos but, because my story is pretty much all dialogue (so a series I guess you could call it), it would be difficult.

Hope some of that helps!! It can really be the best or most stressful creative outlet based on how you play it.

#ts4 storytelling tips #thank you for asking friend!

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jennrypan · 1 year

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So..MLB basically says.

Gabriel, Tomoe, Jagged Stone, Audrey and Andre are ALLLLL worthy of redemption and theyre actually NOT that bad despite one being an actual terrorist and the others being either overbearing to an abusive degree, neglectful and childish or verbally abuse.

BUT NO ITS FINE CUZ YOU KNOW WHOS THE WORST???

LILA AND CHLOE CUS THEY WERE MEAN TO THE MC. THESE 14 YEAR OLD LITTLE ASSHOLES ARE FAR WORSE THAN THE LITERAL ADULT DIRT BAGS SURROUNDING THEM.

Obviously Chloe and Lila are assholes and deserve repercussions for being bullies and treating others like shit, anyone with a brain can see that but to be so heinous and down right stupid to claim these kids are more fucked up than the actual adults who are fully aware of whats going on?? Whos been alive longer?? Seriously?? Make that make sense.

Why does Gabriel get to redeem himself after spending months terrorizing Paris, killing people, neglecting his son and even physically abusing him when he deems it fit?? Why does he get a pass?? Cuz his baby mom got sick doin shit she knows she shouldnt be doing?? Really??

Why does Audrey and Andre get to not see anyone call them out for how they made Chloe?? Why does Andre get to disown Chloe and start over with her nicer copy?? After making her into the spoiled brat she is cuz HE GAVE HER EVERYTHING SHE WANTED, HE COULDVE PUT HIS FOOT DOWN BUT HE DIDNT?? HES A GROWN MAN, and suddenly hes done?? Cuz he wanted to be some dumbass director?? Seriously?? Sir you made your daughter that way and allowed your shitty wife to talk down to her and destroy her self worth, you allowed your daughter to keep demanding things from people and never ONCE tried to speak up, and suddenly you wanna start over with a kid that isnt even yours??

Jagged Stone literally abandons his whole ass kids cuz "kids arent cool" and he KNEW WHERE THEY WERE, KNEW WHO THEY WERE, and likely wouldve NEVER told them unless Luka in his akumatized form actually found him cuz hes a fucking man child going through a midlife crisis

(also lol @ all the salt fics saying hed be there for Marinette more than her own parents. Mf wasnt even there for his own kids, bffr)

I cant really say much on Tomoe cuz we dont really get much on her besides little hints but giving how Kagami is and how she mentions she wasnt even allowed to draw shows that Tomoe is exactly like Gabriel and what do ya know..Kagamis also a senti monster. Its fucked up!

Why do these grown ass adults get passes but Lila and Chloe dont? Chloes apparently a little soulless monster and Lila?? Is a fucking sociopath pulling an Orphan with all these new identities?? What the fuck??

Also lets not forget, Felix tried to make Adrien lose his friends, mocked Adrien for being an abused kid, found out Adriens mother is in the basement and REFUSES TO TELL HIM?? He gave Gabriel all of the miraculous, and instead of helping his COUSIN, he helps this random girl hes now suddenly obsessed with?? What?? But no yeah FELIX deserves to be forgiven despite all of his actions also being just as selfish and terrible as Chloe and Lila but go the fuck off ig, but EVEN STILL HES NOT WORSE THAN GABRIEL

#ml leaks #j.p speaks #..i am PASSIONATE about thia #ima fuck around and start liking Lila. OUT OF SPITE.#chloe bougeois #lila rossi #gabriel agreste #mlb salt #miraculous ladybug #mlb rant #mlb writing salt #mlb parents #jagged stone #everytime i remember Marinettes stupid STUPID decision to just..give Gabriel the win #i WANNA SHAKE HER #THEY BETTER REWRITE THAT ENDING ITS SO TERRIBLE TO EVERYONE GABRIEL HURT ESPECIALLY ADRIEN #ANDRE DOESNT DESERVE TO WIPE HIS HANDS CLEAN #JAGGED DOESNT GET TO JUST POP UP AN PRETEND TO CARE ABOUT LUKA

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justforbooks · 1 month

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Nicholas Shakespeare’s elegant biography of the James Bond author Ian Fleming takes its subtitle from a journalist’s observation, quoted halfway through, that its subject was “for a moment of time, a complete man” while working for British naval intelligence in the second world war. Yet you can’t help read it as a promise to give the reader what was left out of previous biographies such as John Pearson’s crisp, more portable authorised life from 1966. And is there a claim, too, for the alpha male credentials of the man called “Flemingway” by his friend Noël Coward? Journalist, stockbroker, thriller writer and – like his famous creation – a playboy and 70-a-day smoker, who died of a heart attack in 1964 at the age of 56 after a plagiarism row over the origins of Thunderball, the ninth Bond novel.

After a dutiful account of how Fleming’s Scottish financier grandfather became a millionaire – later cutting Fleming and his brothers out of his will – Shakespeare gets going with his subject’s troubled boyhood in the shadow of his father’s death in the first world war. Family friends in Switzerland take his education in hand after hasty exits from Eton (hanky-panky with a woman) and Sandhurst (gonorrhoea). His exams aren’t good enough for the Foreign Office; an engagement to a Swiss lover ends amid maternal threats to cut off his allowance. He falls on his feet at Reuters – it was that kind of life – further honing his knack for a scoop at the Sunday Times, a handy source of contacts for his war work.

Testimony woven from diaries, papers and interviews gives the book a flavour of oral history. Shakespeare goes to great lengths – not least tracking down a 94-year-old veteran, the last surviving member of a covert commando unit that Fleming organised – to dispel the idea that Fleming’s service, occluded by state-sanctioned secrecy, was just “in-trays, out-trays and ashtrays”. The book’s first half puts the future author at the heart of military and journalistic history – a search for German weapons of mass destruction; the race to get an inside scoop on the Cambridge spies – as well as the bedroom shenanigans of the English well-to-do. (Shakespeare, who encourages us at one point to smile at the mention of a “germanely” named Nazi admiral, Assmann, shows his assumptions of his audience when he writes confidently of “that small, turn-of-the-century intellectual clique, the Souls”.)

Fleming may be “the man behind James Bond”, in the subtitle of Andrew Lycett’s 1995 biography, but Shakespeare’s project, you sense, is partly to say there’s more to him. Eager to prove Fleming’s interest beyond the reasons that will draw most of his readers to the book, he is almost comically insistent on the degree to which his subject was ahead of the curve. Not only might he have sparked the idea of creating the CIA – in a memo written when the US-UK special relationship was being forged – but he also came up with the idea of putting a Christmas tree from Oslo in Trafalgar Square.

As for the dozen Bond novels that poured out of Fleming after 1953’s Casino Royale – written in a month in his winter bolthole in Jamaica a year earlier – they were, in Shakespeare’s telling, essentially the literary expression of a midlife crisis accelerated by the encroachments of fatherhood and a faithless union as the third husband of Ann Charteris. They had got together with an affair that caused a high-society scandal during her previous marriage to the Daily Mail heir Esmond Harmsworth; she later cheated on Fleming with the Labour leader Hugh Gaitskell, who told him that the “sex, violence, alcohol” formula of the Bond novels was “to one who leads such a circumscribed life as I do, irresistible”.

Fleming, injecting the American dirt of Mickey Spillane’s Mike Hammer novels into the English thriller, launched 007 on what Shakespeare calls the “spam-munching gloom of Attlee’s Britain”, writing (Fleming told his publisher) in order to make “as much money... as possible” and to have “as much fun as I personally can”. Respectable sales rocketed when JFK took a shine to From Russia, with Love – and the movies were yet to come. While Fleming was self-deprecating – telling Raymond Chandler the Bond novels were “straight pillow fantasies of the bang-bang, kiss-kiss variety” – he was proud enough to greet the director of the first Bond movie, Dr No, by telling him: “So they’ve decided on you to fuck up my work.”

“Luck had to be accepted with a shrug or taken advantage of up to the hilt,” Bond thinks in Casino Royale; he sees luck “as a woman, to be softly wooed or brutally ravaged, never pandered to or pursued”. Squint enough and Fleming took some care to cast his main character in ironic light. Early in that novel, the reader gets a fly-on-the-wall thrill of watching fieldwork in action, with the scene of theatrical care Bond takes to ensure his hotel room isn’t being searched; but soon enough his French sidekick turns up to let Bond know his upstairs neighbours have been listening in to his every move.

In Shakespeare’s biography, the novels are mostly a source of supporting quotation – he doesn’t get bogged down in questions of what it means to read Bond now, confining himself to a remark on how his “cavalier treatment of women... carried the sexual climate of the Blitz into the austerity of the cold war, and was less modern perhaps than it was later cracked up to be”. And perhaps there’s no need for his defenders to overstate the case for Fleming’s novelistic subtlety. Bond has always been shaped by a collective amnesia that allows us to make him what we wish him to be at any given moment; when he parachuted into the Olympic opening ceremony with the queen, it was as the best of British, not as a connoisseur of (Fleming’s words) “the sweet tang of rape”.

The novels, in a way, are irrelevant to 007, but the course of history would surely have run otherwise had Fleming not had the foresight to change his protagonist’s name from the original “James Secretan” – Fleming’s typescript revision perhaps his most significant literary act.

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capricores · 8 months

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Omg this is gonna sound crazy and underdeveloped as hell but i admit it: I JUST WANT SOMEONE WHO’S CRAZY OBSESSED WITH ME TO ENTER MY LIFE! Is that so much to ask? I feel insane for even stating such a thing! Maybe its some sort of midlife crisis. I feel that, as a person with majority capricorn in my chart, i shouldnt want such a crazy person to enter my life and ruin my routine. But dammit I just want the same loyalty i give to others. Just a little bit of unhinged obsession with me, just a tad! I’m begging.. 🧎🏽please feel free to laugh at me as I’m laughing at myself right now for wanting such a dangerous energy in my life. 😭💀💀 I dated a scorpio once and i was lowkey disappointed he wasnt as crazy for me as i was for him. Like, where was the crazy? The passion? The infatuation and monopolization? pls… im so delulu at this point what the hell am I even saying 🤦🏽

PLEASE YOU'RE SO VALID I feel like the constant struggle of people with Capricorn placements (especially Sun/Venus) + Venus-Saturn aspects is finding people that actually reciprocate the loyalty, effort, and energy we give! And not only that, finding people that actually appreciate everything we do for them. Because us Capricorn placements are always doing soooo much shit for others, whether it's behind the scenes or very obvious, and very few people actually notice it 😭 Trust me when I say I have felt your pain so hard on the not reciprocating!! I think my Gem Moon/Sag Mercury makes me not like the obsession thing despite being a Scorpio lmaaaao (I went on a date with an "obsessive" person once and he gave me such an ick I blocked him on everything FLJKDJFDLKFJ), but I totally get what you mean.

You don't sound delusional at all - you are SO valid for wanting a passionate, intense, loving romance where you're catered to and cared for for once!!! I have no doubts that if you're a Capricorn (especially a Capricorn placement woman), you've spent the majority of your life breaking your back showing love and support to others and never feeling that same energy back. I completely get it. I promise you will find your person!! <3 In the meantime, show yourself that love, set those boundaries and don't go above and beyond for a-holes that won't do the same for you!! I LOVE U<3 I'M ROOTING FOR U!!! (also I feel like if you want an obsessed partner, u gotta find like an Aries Venus. Like a Taurus Sun Aries Venus, maybe Pisces Sun Aries Venus - those mfs are the most intense, loyal, dedicated to their partners people alive!! Esp the Taurus Sun Aries Venus... we gotta find u one of them!!! I feel like they'll tick all your boxes omg)

#question #if someone is a taurus/pisces sun aries venus pls slide in the dms of this anon somehow #i would like to make a match. let me be cupid #also i just want to stress again u do NOT sound crazy or delusional or undeveloped at all omg #you just sound burnt out from not giving what you're getting :(#and i totally get that! it's exhausting and heartbreaking #you deserve the world!!!!!!!!!!!!!!!!!!!!!#don't ever settle for less than what you need and deserve!!#I LOVE U

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