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#which the games IGNORE
lucskata · 4 months
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nothing bad has happened to us yet
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idk man i just think lucy, as narrator and protagonist, convinces the audience that l&co is a teen supernatural adventure story with hints of romance, but that is true for her and only her. for george it’s a criminal minds/house md case of the week narrative where he solves ghost mysteries with his sword carrying sidekicks. for inspector barnes it’s a political drama about the inner workings of the british bureaucracy. for flo bones it’s a sitcom. and to lockwood, life is a romantic comedy in which he is the star
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projectpirori · 8 months
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goodbye to the only person that matters </3
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ganondoodle · 5 months
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apparently one of main guys directing the god damn zelda movie "aims for it to be a live-action miyazaki"
and i just-
you idiot, you fool, you absolut buffoon
first of all, there is a REASON why all his films are ANIMATED, animation can do things live action will never be able to no matter how much shitty CGI effects you pump into it
secondly, given how any possible ghibli influence in totk is so clearly purely a superficial attempt of copying aesthetics and NOTHING more is making me more convinced that movie will be shit
miyazakis works have been reduced to whimsical childrens fantasy with a specific kind of aesthetic in the mindset of many and i HATE it, its so much more than that and seeing how much totk has been compared to it, again, purely bc of some aesthetics reminiscent of his movies is still driving me nuts
the zelda series, especially the most recent entry, is very clearly lacking in everything that miyazaki excels at and i am not confident that anyone in higher positions whos working on that darn movie understands any of it and will just go for the usual copying of surface level aesthetics tm
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twingeof-cosmic-angst · 3 months
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I love that doctor who writers have the ability to just create any lore. Anything they can dream up with practically no reprecussions. and they abuse the hell out of it (as they should!!) listening to an audiobook, and i am now having to cope with the fact that Icelandic people are aliens. shit man... sure! Why not?
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topaz-carbuncle · 2 months
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so, turns out you can add characters to your party to take on missions
this is a very serious mission, Levi, promise
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ashes-in-a-jar · 2 years
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A comprehensive list by one Martin Blackwood regarding his partner and their cat Tiff
(begging you to click for higher quality tumblr wtf)
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Wait.... YOU SERIOUSLY DON'T KNOW ANTON FROM ANTONBLAST????
I saw in the tags of a post you reblogged that you don't now who anton is (red guy, big beard,)
Basically Anton is a character from a similar wario-like platformer, and many fans compared AntonBlast and Pizza Tower. This lead to the developers to make some jokes here and there, until they made a post saying that Anton and Peppino are in a relationship.
of course this wasn't all that serious but it is what lead to the ship of Anton and Peppino and why he is in a lot of PT art.
i was COMPLETELY serious so thank u for clarifying 😭😭😭 I just saw the red man everywhere and was like well i guess everyone is having a good time :) i just assumed it was an au or something that fanon latched onto so i blacklisted it alongside the au and oc tags 😭😭😭 thats sounds interesting tho that TWO wariolikes sprouted up at the same time; ill go look it up!
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blueskittlesart · 10 months
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any thoughts on how once again zelda was robbed of her agency because her "father figure" didn't listen to her? even if rauru was kinder to her than her father. and that she had sonia who was patient and loving for a little while before she died (just like her mother). i know rauru apologizes for his hubris but still, i wish we saw zelda be upset about it. and even if zelda was such a big part of the quest she still literally sacrificed her humanity once again because of someone else's mistake- because rauru literally didn't listen to the girl from the future that warned you that shit was going to go down. o know nintendo just loves putting zelda inside crystals and stones but i wish we got something better. even if it was her decision to become a dragon... did she have any other choice? it really just feels like they robbed her of agency again just like botw and the games before
i've been trying to figure out how to answer this one. because there are two ways i could analyze this plot point, either from a writer's perspective or an in-story perspective, but neither of those lead to me fully agreeing with your interpretation? I think there's definitely something to be said about zelda consistently being pushed aside in these games, but. well. ok let's get into it ig
from a writer's perspective, I do honestly have quite a bit of sympathy for the zelda devs as they attempt to navigate the modern political landscape with these games. The cyclical lore, though canonized relatively recently, holds them to a standard of consistency in their games in terms of certain key elements. one of those key elements is that there has to be a princess, and that princess must somehow be the main macguffin of the game. The player must chase her, and the end goal of the game must be to reunite the player and the princess. In 1986 this was an incredibly easy sell. women didn't need to be characters. players were content with saving a 2-dimensional princess whose only purpose was to tell them "good job!" at the end. but as society advances, that princess becomes a much more difficult character to write while adhering to the established overarching canon. (as a side note: i don't necessarily believe that the writers SHOULD be held to the standards of that canon. I think deviating from it in certain areas would be a good change of pace. but i also recognize that deviations from the formula are widely hated by the loz playerbase and that they're trying to make money off these games, so we're working under the established rule that the formula must be at least loosely adhered to.) Modern fans want a princess who is a person, who has agency and makes decisions and struggles in the same way the hero does. but modern fans ALSO want a game that follows the established rules of the canon. so we need a princess who is a real character but who can ALSO serve as a macguffin within the narrative, something that is inherently somewhat objectifying.
the two games that i think do the best job writing a princess with agency are skyward sword and botw (based on your ask, our opinions differ there lol. hear me out) in both games, we have a framing event which seperates zelda and link, but in both games, that separation was ZELDA'S CHOICE. skyward sword zelda runs away from link out of fear of hurting him. botw zelda chooses to return to the castle alone to allow link the time he needs to heal. sksw kinda fumbled later on by having ghirahim kidnap her anyway, but. i said BEST not PERFECT. botw zelda I think is the better example because, with the context of the memories, she's arguably MORE of a character than link is. we see her struggles, her breakdowns, her imperfection, specifically we see her struggle with her lack of agency within the context of the game itself. when she steps in front of link in the final memory, and when she chooses to return to the castle, those are some of the first choices we see her make almost completely free of outside influence; a RECLAMATION of her agency (within the narrative) after years of having it stripped from her. from an objective viewer's standpoint, this writing decision still means she is absent from 90% of the game and that she has little control over her actions for the duration of the player's journey. however I think this is just about the best they could have done to create a princess with agency and a real character arc while still keeping the macguffin formula intact--you're not really SAVING zelda in botw. SHE is the one that is saving YOU; when you wake up on the plateau with no memories, too weak to fight bokoblins, let alone calamity ganon. the reason you are allowed to train and heal in early-game botw is because SHE is in the castle holding ganon back, protecting YOU. When you enter the final fight, you're not rescuing zelda, you're relieving her of her duty. taking over the work she's been doing for the past hundred years. in the final hour, you both work in tandem to defeat ganon. while this isn't a PERFECT example of a female character with agency and narrative weight, i think it's a pretty good one, especially in the context of save-the-princess games like loz.
as for totk, you put a lot of emphasis on rauru not believing zelda and taking action immediately, which, again, from an objective standpoint, i understand. but even when we're writing characters with social implications in mind, those character's actions still need to... make sense. Rauru was a king ruling over what he believed to be a perfectly peaceful kingdom. zelda literally fell out of the sky, landed in front of him, claimed to be his long-lost granddaughter, and then told him that some random ruler of a fringe faction in the desert was going to murder him and he had to get the jump on it by killing him first. the ruler which this girl is trying to convince rauru to wage an unprompted war on has the power to disguise himself as other people. no one in their right mind would immediately take the girl at her word. war is not something any leader should jump into without proper research and consideration, and to rauru's credit, he DIDN'T ever outright dismiss zelda. he believed her when she said she was from the future, he allowed her to work with him and he took her warnings as seriously as he could without any further proof. but he could not wage an unprompted war on ganondorf. that's just genuinely not practical, especially for a king who values peace among his people as much as rauru seems to. as soon as ganondorf DID attack, giving rauru confirmation that zelda's accounts of the future were real, he began making preparations to confront him. remember that zelda didn't KNOW that rauru and sonia were going to be casualties of the war--she didn't make the connection between rauru's arm in the future and rauru the king until AFTER sonia's death, when rauru made the decision to attack ganondorf directly. I think the imprisoning war and the casualties of it were less an issue of zelda being denied agency and more an issue of no one, including zelda, having full context for the events as they were unfolding. if zelda had KNOWN that sonia and rauru were going to die from the beginning and was still unable to prevent it that would be a different issue, but she didn't. none of them did.
I think another thing worth pointing out with rauru and his death irt zelda is that rauru is clearly written specifically as a foil to rhoam. this is evident in how he treats both zelda and link, with a constant kindness and understanding which is clearly opposite to rhoam's dismissiveness and disappointment. consider rhoam's death and the circumstances surrounding it. He died because, in zelda's eyes, she was unable to do her duty; the one thing he constantly berated her for. Rhoam's death solidified zelda's belief that she was a failure, a belief which she KNEW rhoam held as well. his death was doubly traumatic to her because she knew he died believing it was her fault. Now contrast that to the circumstances surrounding rauru's death. Rauru CHOSE to die despite zelda's warnings, because he wanted zelda and his kingdom to live. rauru's death was not agency-stripping for zelda; in fact, it functioned almost as an admission that he believed her capable of continuing to live in his place. With him gone, the fate of the kingdom fell to her and the sages. he KNEW that he would die and still went into that battle confidently, trusting zelda to make the right decisions once he was gone. where rhoam believed zelda incapable of doing ANYTHING without link, rauru trusted zelda COMPLETELY with the fate of his kingdom. several details in totk confirm that when rauru died there was no plan for zelda to draconify, that all happened after rauru was gone. it was HER plan, the plan which rauru trusted her to come up with once he was gone. and I think it's also worth noting that zelda's sacrifice with the draconification parallels rauru's!! Rauru gives up his life trusting the sages and his people to be able to continue his work in his place. Zelda gives up her physical form trusting link and the sages in the future to be able to figure out what to do and find her. these games in general have this recurring theme but totk specifically is all about love and trust and reliance on others. zelda relies on link, link relies on zelda, they both rely on the champions and the sages and rauru and sonia and they all rely each other. reliance on others isn't lack of agency, it's a constant choice they make, and that choice is the thing which allows them to triumph.
The draconification itself is something i view similarly to zelda's sacrifice in botw--a choice she makes which, symbolically & within the confines of the narrative, is a demonstration of her reclaimed agency and places her at the center of the narrative, but which ALSO removes her from much of the player's experience and robs her of any overt presence or decisionmaking within the gameplay. again, I think this is a solution to the macguffin-with-agency dilemma, and it's probably one of the better solutions they could have come up with. Would I have liked to see a game where zelda is more present within the actual gameplay? yes, but I also understand that at this point the writers aren't quite willing to deviate that much from their formula. the alternative within the confines of this story would be to let zelda DIE in the past, removing her from gameplay ENTIRELY, which is an infinitely worse option in my opinion. draconification allowed her to be present, centered the narrative around her, and allowed the writers to reiterate the game's theme of trust and teamwork when she assists the player in the final battle, which i think was a REALLY great choice, narratively speaking.
In any case, I don't think it's right to say that zelda was completely robbed of her agency in botw and totk. Agency doesn't always mean that she's unburdened and constantly present, it means she's given the freedom to make her own choices and that her choices are realistically written with HER in mind, not just the male characters around her, and I think botw/totk do a pretty good job of writing her and her choices realistically and with nuance.
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evilbiomes · 5 days
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don’t think i forgot about 4/20! (i almost did actually)
anyways heres a redraw of that good ol forever weed brownie comic
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shitouttabuck · 7 months
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wip wednesday
tagged by @rewritetheending @onward--upward and @alyxmastershipper 💓💓💓
i haven’t reeeeally started writing anything other than planning this out broadly because it’s very plot heavy but got a little lost thinkin about the intimacy of shaving the other day so this is from x files au in some shitty shared motel room while they’re cryptid hunting or chasing aliens idk we’ll figure it out
When he emerges, hair towelled dry and in clean clothes, Eddie frowns at him. “What?” he asks. “Promise I didn’t finish all the hot water.” “No, you just look—” Eddie gestures at Buck’s face, “—scruffier than usual.” “Oh,” Buck says, running a hand over his day-four stubble. “I forgot my razor.” “Oh,” Eddie’s face clears, “just use mine.” Buck swallows. “Um. Okay. Thanks.” Eddie nods at him and goes back to squinting at his phone, so Buck about-faces and re-enters the bathroom. It’s not a big deal, he tells himself as he foams up his face. It’s like—like sharing a hairbrush. Intimate, sure, not something you’d tend to do with people you don’t know well, but it’s not a big deal.  He wets the razor and brings it to his throat, heart hammering there so violently it feels like his Adam’s apple is trying to get out. If his hand doesn’t stop trembling he’s going to nick himself, and God, he is being absolutely fucking ridiculous. Deep breath. The razor glides over the thin skin of his throat, muscle memory even as he stares at himself in the mirror. Doesn’t think about Eddie doing this every morning, using this very razor. Blade edge kissing his jaw the same way it kisses Eddie’s. Doesn’t think about Eddie doing this for him, hand holding his chin as he shaves Buck carefully, grip firm when he turns Buck’s face this way and that. Doesn’t think about Eddie kissing where the blade kissed him first.  Doesn’t think about any of that when he rinses the razor clean and slots it back into the travel mug, where Buck’s toothbrush rests against Eddie’s with such easy familiarity it’s about to spark a whole new crisis. 
tagging @try-set-me-on-fire @jeeyuns @housewifebuck @anxieteandbiscuits @forthewolves @zahlibeth @athenagranted @buckactuallys @transboybuckley @icecreampotluck @diazblunt if you have anything to share today or later!
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sonknuxadow · 15 days
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on one hand i think it should be mostly games with Actual intentional lgbt rep and themes being tagged as lgbt because tagging a bunch of random games as that makes it harder for people wanting representation to find what they're looking for. and ive also seen a lot of people who dont know how steam tags work spreading misinformation or getting their hopes up for nothing because of people tagging random games as lgbt . but on the other hand i think every new sonic game that comes out being tagged as lgbt on steam is hilarious . sonic lgbt icon forever
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dnpbeats · 2 months
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THIS MAN WON'T LEAVE ME ALONE!
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PLEASE SOMEONE SEND HELP I AM BEING HARASSED
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3l!grian is frequently depicted as a tragic figure and sometimes i wonder if we even watched the same series
#like yes he is tragic. every character in the series is tragic but i think hes easily the least tragic of the winners#(except maybe cleo. i have my own thoughts about how cleos victory plays into her core themes and why its not as joyous or triumphant as#cleo the players and the fandom at large make it seem that i will have to make a real post about at some point)#grian dies Laughing. he smiles and calls it a dual victory before the final fight. his last words are “its been amazing.”#to me Grians arc is about how he came in with this sense of mirth. had it ripled away by the reality when his joke gets Scar killed.#and then rediscovers it as he learns that the horror of their circumstances doesn't need to keep him from delight#plus also ive never seen a man more delighted to explode three of his friends#ill also bring up that Martyns lore has Grian involved in the games explicitly to COMBAT the angst#that Grians inherent silliness and joy makes the players less hopeless as they meet their endings#and theres obviously parts of martyns lore i can take or leave but this is one area where Eyes and Ears lines up very well with what actions#the characters take and so im happy to bring it up#unlike other parts such as “limlife pearl and cleo retained more trauma between seasons than any player has before”#which i do directly refute as it doesn't seem to line up with the way the characters act and the story plays out#thats for another post though#my point here is 3l grian was having the time of his life and i think there are some fanon interpretationd that disregard that#which theyre free to do im definitely someone who has ignored canon plenty of times in the past (glances at worm)#but i think this is the sort of thing that makes the canon more interesting and compelling#anyway. um. rambled longer than i meant to there#grian#trafficblr#3rd life#3rd life smp#3lsmp
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mysecretdsmpblog · 11 months
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foolish saying he genuinely trusts bad especially after the election announcement is like. oh
like i knew it a little. i knew they bantered but bad still came to help him when he thought he was dying in that hole. bad still takes care of the eggs, bad shows up, etc.
but leo and foolish are literally talking about how good of a person bad is and like. yeah. yeah even though foolish is all 'oh i hate bad he's terrible and a menace' it's clear he really does trust bad. and he's not the only one
it's easy to forget just how many people trust bad implicitly on the qsmp, especially with all the shenanigans he gets up to. but like. oh
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