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#the critical degree
evangelinesbible · 2 years
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ummm found something very interesting in my 1999 CE119 chart
If you don’t know that asteroid is all about huge attainment and status. In my natal chart is not very prominent but it is in retrograde Libra in the 2nd house Sextile Fama and square Saturn.
That’s a whole other thing to unpack but I was looking at the persona chart and 🫥
IVE GOT:
1998 BU48 0° conjunct MC 0° in Virgo
Leo Venus 24° conjunct MC
Fama Virgo 25° conjunct Mercury/Jupiter 10H
Sun Libra 5° 11H conjunct CE119 Libra 6° 11H
Mars Libra 1° 10H
Mercury Libra 0° 10H
Jupiter Libra 0° 10H
( mars, Jupiter, mercury and sun all conjunct each other)
bitch…
I got a lot of unpacking to do
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chocopinda · 4 months
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A slightly festive Fearne for the upcoming holidays~
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soaring-trash · 3 months
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The bed gets cold without you and cold hands trope, but reversed because Laudna doesn’t produce an ounce of warmth and Imogen is practically a human heater.
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rawliverandgoronspice · 5 months
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I think what particularly annoys me with the "zelda was always gameplay before story" is that... it's not true? At least I don't think it's true in the way people mean it.
Zelda games were always kind of integrating story based on the standards of the time. When game stories were in game pamphlets, Zelda's stories was in the pamphlets. ALTTP tried to tell a pretty complicated stories with the limitations of the time. OoT was actively trying to tell an epic, cinematic tale packed with ambiance and expand what 3D could offer that 2D games struggled with. Majora's Mask is deeply character-driven in many, many ways. Wind Waker and Twilight Princess are both pretty concerned about their stories, down to the point that some people were bored by TP's cutscenes in particular. Skyward Sword, from what little I have played it, is very very invested in its characters and their journey (and 2D Zeldas have Link's Awakening, Minish Cap... None of them are visual novels, but they are concerned with emotional journeys, character arcs, mysteries about their own world...)
What is true is that the narrative wraps around the mechanics, and not the other way around. The mechanics drive themes, aesthetics, emotional beats and character journeys; and that's great. The world is a puzzle, and the world is delightfully absurd when it needs to be, full of heart when it calls for it, dark and oppressive when it suits the player experience.
That does not mean the games aren't invested in their stories. Even BotW has a pretty complicated story to tell about an entire world rather than one specific tale or legend --all of it at the service of the gameplay, which is exploration and mastery of your environment.
So. Yes, none of the Zelda games are million-words long visual novels that care deeply about consistency and nuance; but stories don't need consistency or deep lore to be meaningful and serve an emotional journey. Again: gameplay is story. The two cannot be so easily parsed from each other.
And Zelda as a franchise obviously care deeply about story, characters and setting (and still does right now --otherwise there wouldn't be a movie), even if it doesn't try to imitate prestige narrative-driven games, which is great and part of why I love this series so much. Doesn't mean it couldn't have done better in the past, it obviously could have, but I feel like pretending that nobody ever cared about story or character is just... false? It's a huge disservice to the devs too. Some of them obviously cared immensely.
The "gameplay above story", at least in the extent to which it is paraded today to defend TotK, mostly, is a really recent development. And I think it's one that deserves to receive some pushback.
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captaingeorge13 · 8 months
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y’all i work in construction and i was on a ledge 35 feet up being lazy lifting something in a, lets say non-OSHA compliant manner, and i swear right before i started pulling i heard brennan lee mulligan’s voice on the wind saying “are you weakest, do you feel, at the elbow or the shoulder?”
i stopped and went through correct safety procedure so damn quickly. thats what i call divine intervention.
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washedupuriel · 2 months
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Are we really going to let the Rishi Sunaks of the world pretend that humanities degrees are "low value"?
Are we really going to let them blame the results of their hyper capitalist politics – cost of living crisis, housing crisis, climate emergency, the list goes on – on the very courses of study that teach people to think critically and call them out on their bullshit?
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cumulativechaos · 2 years
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having seen jordan peele's three movies at this point im pretty sure the way on-screen gore and violence is used pretty sparingly is part of his style. and i like his style a lot, but the way so much of the gore is kept off-screen works SO well in Nope (2022) specifically
like for one thihg, having some of the most gruesome/terrifying parts of the movie happen just outside of the camera or blocked by something in the shot definitely elevates the horror. gordy attacking jupe's co-stars is all blocked by the set, we only see the shadows of everyone getting sucked into jean jacket, and even tho we see them inside jean jacket a little bit, it's more to show us how they were being kept alive. we don't actually see them die/get digested. and because none of these things happen on-screen, our brains connect the dots and come up with the most horrifying shit we can imagine
but even outside of just how Not Seeing The Scary Thing Makes The Scary Thing Scarier, it fits fucking thematically with the whole movie. we don't need to see the gory gruesome details of someone's death to know what happened to these characters, showing these things on-screen wouldn't add to our understanding of the plot. it would just be a spectacle of gore and pain and the whole point of Nope is condemning the act of pointing the camera at suffering to exploit people's pain
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mactiir · 6 months
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I know the average reading comprehension on this site is zero but I'm different. I'm applying wildly inappropriate analysis lenses to popcorn media. I'm doing a queer theory reading of Horus Heresy novels. Now I'm doing feminist analysis of Warhammer 40k canon. Now I'm applying Marxist analysis to The Outsiders. Time for a historical analysis of The Locked Tomb. A post-colonial reading of the entirety of Doctor Who. A psychological anlaysis of Twilight. On the horseshoe scale of reading comprehension I'm at "so much reading comprehension that it loops back around to not understanding books at all actually". You can't stop me. I'm literary analysis Georg
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tiredyke · 7 months
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i cant stand feminist discourse on this site because its like 90% "feminism means equality which means you can't say anything bad about men and you have to criticize women just as much as men because misandry is just as bad as misogyny" and these posts always get thousands of notes from other people who call themselves feminists likeee
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halcyon-autumn · 8 months
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I read the wheel of time books in middle school and was deeply, deeply obsessed with them, so now I’m incapable of thinking critically about the show at all. Every time one of my faves (read: any character) is on the screen I’m just like “THATS MY BEST FRIEND FROM WHEN I WAS THIRTEEN”
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andi-o-geyser · 10 months
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I truly do love where Bells Hells' relationship with the gods is going, because in what has so far been a very atheistic party we're now experiencing some wildly different journeys with divinity. FCG is over here living his best life, like "I am all in on the Changebringer!" right as Laudna, Orym, and Ash return with all their trauma and complicated experience with how harmful the gods can be, so now Deanna is speedwalking in the opposite direction like "what do you mean :) you have issues with the Dawnfather :)) wait :) what do you mean militaristic churches :)) can i :))) have a fucking minute :)))" and then she hopped onto a quick zoom call with the sun itself, heard all she needed to hear, called him a bitch, and left. queen shit. anyways this is a Deanna stan post, my girl do what you've gotta do I'll support you the entire way
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towards-toramunda · 2 months
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*lacing up my big shoes before tonight’s episode*
*painting my face in Mehron brand cake tin makeup in the color clown white*
*putting on the traditional costume of a harlequin in comedia del arte*
*wearing a bowler hat in the style of a tramp or hobo clown*
*being laughed off the stage for combing different types of clown from various points in history instead of sticking to one cohesive style*
I’m keeping my eyes peeled for ashrym crumbs
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essektheylyss · 8 months
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Spenser's opening narration like "Tell me you have a film degree without telling me"
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ladyddanger · 7 months
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I would take criticisms of c!Tommy a lot more seriously if a lot of it wasn’t just… victim blaming and ableism. This isn’t to say there’s no valid criticism of c!Tommy there 100% is. But a lot of “popular” criticisms of c!Tommy and the way these criticisms are stated is nasty. Like c!Tommy has so many flaws! But then you get people listing his flaws are like being mean to his abuser and it all falls apart.
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densitywell · 8 months
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Marisha's comment about how Relvin is one of those parents who ended up with a child they didn't know what to do with really gets to the heart of it, i think, and is such a good way to tie the fantasy element of Imogen's powers into things more tangible. because there are really a lot of parents like Relvin in real life, who have a child with the person they're happily married to and never expect to be left alone with the kid. or who expect a ""normal"" (read: cisgender and heterosexual, able-bodied, relatively neurotypical and obedient, etc.) child and end up with one who's ""difficult"", who demands more or different of them than what they believe they signed up for. and that's not entirely entitlement on a parent's part- many cultures' common frameworks of parenthood and child-rearing do not include space for these children. it makes sense that Relvin was unprepared. raising any child is difficult, and raising a child whose needs you were never taught how to accommodate, who the world is so cruel to, is even more challenging.
and yet. and yet, the person who bears the brunt of the harm in these situations will always be the child. they're the ones who have to live every moment of how the world treats them, without the support that their parent is supposed to provide them. and when asked to care for his child even when she turned out to be ""difficult"", Relvin couldn't. for entirely sympathetic reasons, of course. he tried, in his own way. i don't think he's a bad guy. but he's let his own broken heart bleed onto his daughter. he hasn't been able to give her much else.
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a thing about Nathaniel is that he has some of the same issues and problems as Sean, except Nathaniel successfully compartmentalized (a revolver locked tidily into a mahogany box) and is more controlled about his own descent. sharing in a different degree in it, but sharing in it nonetheless.
and there's many reasons why Nathaniel is coping significantly better—among the most important of which is he hasn't shot children, as far as we know—but I think, just as much as Sean is, Nathaniel is afraid of the person he can be. he hates himself, for many reasons going back to his childhood. I think he hates and is afraid of Lt. Trapp too, at least a little. he hides the revolver in that box and is hesitant to take it, and it is a dark place, and one he has to slowly get himself used to even thinking about over multiple days.
to use Beatrix's hole metaphor, Nathaniel has just as much a hole as Sean does. Nathaniel's may not be as deep and dark, and Nathaniel has managed to claw his way back up out of it, but it is there, and he is trying to climb a little ways down it on purpose without falling back to the bottom. and it's voluntary, and he has more control over it than Sean does in his rapidly deteriorating state, but there is always a risk against what it may to do Nathaniel to walk back into a place and state that has and can ruin and harm him as a person.
I think it's why Sean and Nathaniel seem to intuitively understand one another sometimes, when it comes to these things. even if they don't materially grasp their circumstances all the time. it's why their relationship is so easy and automatic. they have share this thing where they hate and are afraid of themselves, of that man who came back from the war.
unfortunately, that man of them both is useful for the task at hand.
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