To commemorate volume 1 of @blorbosexterminator's epic story, The Swan's Symphony, I published a companion guide to the story so the rest of us can keep up with the impressive amount of characters factoring into the story!
Hope this does your story justice Nada, and I hope the guide is accurate. In the meantime, excited to see what you have in store for volume 2 ;)
0 notes
bitches be making punnett squares to come up with ideas for more sonadow fankids
448 notes
·
View notes
One of my favorite parts of phase 2 (and indeed one of the few moments I resonated with IDW Prowl) was when the neutrals were coming back to Cybertron and Prowl said that he refused to let Autobots be pushed aside and overruled after they were the ones who fought for freedom for 4 million years (the exact wording escapes me atm).
And I mean, that resentment still holds true even once the colonists come on bc like. As much as it's true that Cybertron's culture is fucked up, and as funny as it can be to paint Cybertronians as a bunch of weirdos who consider trying to kill someone as a common greeting not important enough to hold a grudge over.... The colonists POV kind of pissed me off a lot of times, as did the narrative tone/implications that Cybertronians are forever warlike and doomed to die by their own hands bc it just strikes me as an extremely judgemental and unsympathetic way to deal with a huge group of people with massive war PTSD and political/social tensions that were rampant even before the war?
Like, imagine living in a society rife with bigotry and discrimination where you get locked into certain occupations and social strata based on how you were born. The political tension is so bad there's a string of assassinations of politicians and leaders. The whole planet erupts into an outright war that leads (even unintentionally) to famine and chemical/biological warfare that destroys your planet. Both sides of the war are so entrenched in their pre-war sides and resentment for each other that this war lasts 4 million years and you don't even have a home planet any more. Then your home planet gets restored and a bunch of sheltered fucks come home and go "ewww why are you so violent?? You're a bunch of freaks just go live in the wilderness so that our home can belong to The Pure People Who Weren't Stupid And Evil Enough To Be Trapped In War" and then a bunch of colonists from places that know nothing about your history go "lol you people are so weird?? 🤣🤣 I don't get why y'all are fighting can't you just like, stop??? Oh okay you people are just fucked up and evil and stupid then" ((their planets are based on colonialism where their Primes wiped out the native populations btw whereas the Autobots and OP in particular fought to save organics. But that never gets brought up as a point in their favor)) as if the damage of a lifetime of war and a society that was broken even before the war can just magically go away now that the war is over.
Prowl fucking sucks but he was basically the only person that pointed out the injustice of that.
And then from then on out most of the characters from other colonies like Caminus and wherever else are going "i fucking hate you and your conflicts" w/ people like literal-nobody Slide and various Camiens getting to just sit there lecturing Optimus about how Cybertronians are too violent for their own good and how their conflicts are stupid, with only brief sympathetic moments where the Cybertronians get to be recognized as their own ppl who deserve sympathy before going right back to being lambasted.
Like I literally struggled to enjoy the story at multiple points because there was only so much I could take of the characters I knew and loved being raked over coals constantly while barely getting to defend themselves or be defended by the narrative so like. It was just fucking depressing and a little infuriating to read exRID/OP
213 notes
·
View notes
Fascinated by people just getting into WTNV and asking if there is a list of episodes to listen to, omitting the "unimportant" stuff I assume.
Chill, you all. Night Vale has been ongoing for around 11 years and it's yet to show any sign that it intends to end any time soon, so you can take your time. Even if it ended soon, there is time.
Enjoy the episodes as they are. Chew on them.
WTNV does this very special thing of making the town feel alive, not every citizen gets an arc or even a spotlight, but they're constant, they're there, living their lives. Those little details, little mentions of everyone growing and continuing living as time pass make it feel so nice.
And then, one day, Night Vale surprises you, and, oh, hey, remember that one intern whose death wasn't confirmed? Well, he has come back, and if you remember him and remember what happened to him at the time, you'll be able to connect the dots of the current arc faster.
The MOST unexpected things come back. The town is alive.
Just enjoy the ride! Enjoy Cecil's voice. Enjoy listening about this friendly desert community where the sun is hot, the moon is beautiful, and mysterious lights pass overhead while we all pretend to sleep.
172 notes
·
View notes
Rung being kind of a loser old man is so much better in mtmte after finding out he's Literally Their God like what kind of god forgets he's a god? The kind that thinks finishing off a particularly riveting jigsaw puzzle is grounds for a sit down with a hot toddy
63 notes
·
View notes
congrats to all the qtubbo and qbbh fans on their dead cubitos!
44 notes
·
View notes
hmmm something about dominik haunting the narrative in king of scars. everything nikolai does is at least a little bit for him. he learns about the life of average ravkan people by meeting dominik's family. he starts gaining influence in politics just so he can improve dominik's life. and then he promises dominik that he won't let ravka break him.
that promise fucking haunts him. it follows him wherever he goes. it's the driving force behind everything he does, every step he takes to heal the centuries-old wounds in ravka. it's what drives him to do better, be better.
dominik is always there, in the back of his mind: this country gets you in the end. always pushing him to do more, because he couldn't save dominik and so he has to save ravka (for dominik) (because he promised) (because he loved him)
64 notes
·
View notes
So knowing how vengeful ilia’s parent come across in “smile” doesn’t that make Blake telling ilia “is this what your parents would have wanted” feel kinda distasteful? Like, Blake never knew them, but ilia did. And either way based on smile it kinda seems like they wouldn’t want her to be as passive as ghira and Blake have been for all that we’ve seen of them.
Again it sometimes Blake in relation to ilia is a white savior type who shows the angry POC the “correct” way to fight for her rights. Admittedly Blake is also an in universe minority but it just doesn’t look good all around
Okay first of all Blake's not white, so jot that down lmao.
The faunus plotline has never been RWBY's best writing, I think anyone who's capable of critical thinking can admit that. But what I do think is incredibly important concerning it is how Blake is able to heal and allow herself to step out of that same mindset. She pulls herself out of Adam's version of the White Fang because she finally gains the courage to escape from his abuse.
And she's not perfect. Of course she's not. She might've known Ilia's parents a little and she might've not at all, but either way, she's trying to pull Ilia out of the deep end because she knows Ilia's not entirely gone.
39 notes
·
View notes
the one reason I'd be hesitant to sacrifice the president plotline for a cleaner version of Black Friday is because the two doors not one scene when they realize they've started world war three is sooooo harrowing it's so GOOD
59 notes
·
View notes
now i'm crying cause i'm thinking about how lucy threw herself at tim like "that was really scary" 🥺 after being shot at while she was undercover, and how scared she'll be and the emotions that will be running through her this second time around knowing she's not getting out of whatever predicament she's in unscathed —or possibly alive.
25 notes
·
View notes
feel like pure shit, just want her back
43 notes
·
View notes
Not sure how hot a take this is but Twelve had the best regeneration sequence (at least in NuWho) by a landslide like good fucking god
31 notes
·
View notes
Is anybody else's relationship with Doctor Who currently all over the place like a rollercoaster at the moment, or is it just me?
I do love this show and what it has done to me and the friends and opportunities I've had through it and I will always be thankful for it making the person I am today, but I just feel like the last few years it has not been as it should be in terms of writing and quality control? I don't know how else to describe it.
I have been doing my best to completely ignore the bits of Doctor Who that I don't like and focus on the areas that I do like, and I really want to get back into the expanded universe / classic series again, I think.
I've taken a step back from the fandom recently and been trying to dive into other stuff, but maybe I should try and just pick up a random doctor who books or audios to get me into the spirit of things again.
18 notes
·
View notes
Movies that attempt something different, that recognize that less can indeed be more, are thus easily taken to task. “It’s so subjective!” and “It omits a crucial P.O.V.!” are assumed to be substantive criticisms rather than essentially value-neutral statements. We are sometimes told, in matters of art and storytelling, that depiction is not endorsement; we are not reminded nearly as often that omission is not erasure. But because viewers of course cannot be trusted to know any history or muster any empathy on their own — and if anything unites those who criticize “Oppenheimer” on representational grounds, it’s their reflexive assumption of the audience’s stupidity — anything that isn’t explicitly shown onscreen is denigrated as a dodge or an oversight, rather than a carefully considered decision.
A film like “Oppenheimer” offers a welcome challenge to these assumptions. Like nearly all Nolan’s movies, from “Memento” to “Dunkirk,” it’s a crafty exercise in radical subjectivity and narrative misdirection, in which the most significant subjects — lost memories, lost time, lost loves — often are invisible and all the more powerful for it. We can certainly imagine a version of “Oppenheimer” that tossed in a few startling but desultory minutes of Japanese destruction footage. Such a version might have flirted with kitsch, but it might well have satisfied the representational completists in the audience. It also would have reduced Hiroshima and Nagasaki to a piddling afterthought; Nolan treats them instead as a profound absence, an indictment by silence.
That’s true even in one of the movie’s most powerful and contested sequences. Not long after news of Hiroshima’s destruction arrives, Oppenheimer gives a would-be-triumphant speech to a euphoric Los Alamos crowd, only for his words to turn to dust in his mouth. For a moment, Nolan abandons realism altogether — but not, crucially, Oppenheimer’s perspective — to embrace a hallucinatory horror-movie expressionism. A piercing scream erupts in the crowd; a woman’s face crumples and flutters, like a paper mask about to disintegrate. The crowd is there and then suddenly, with much sonic rumbling, image blurring and an obliterating flash of white light, it is not.
For “Oppenheimer’s” detractors, this sequence constitutes its most grievous act of erasure: Even in the movie’s one evocation of nuclear disaster, the true victims have been obscured and whitewashed. The absence of Japanese faces and bodies in these visions is indeed striking. It’s also consistent with Nolan’s strict representational parameters, and it produces a tension, even a contradiction, that the movie wants us to recognize and wrestle with. Is Oppenheimer trying (and failing) to imagine the hundreds of thousands of Japanese civilians murdered by the weapon he devised? Or is he envisioning some hypothetical doomsday scenario still to come?
I think the answer is a blur of both, and also something more: In this moment, one of the movie’s most abstract, Nolan advances a longer view of his protagonist’s history and his future. Oppenheimer’s blindness to Japanese victims and survivors foreshadows his own stubborn inability to confront the consequences of his actions in years to come. He will speak out against nuclear weaponry, but he will never apologize for the atomic bombings of Japan — not even when he visits Tokyo and Osaka in 1960 and is questioned by a reporter about his perspective now. “I do not think coming to Japan changed my sense of anguish about my part in this whole piece of history,” he will respond. “Nor has it fully made me regret my responsibility for the technical success of the enterprise.”
Talk about compartmentalization. That episode, by the way, doesn’t find its way into “Oppenheimer,” which knows better than to offer itself up as the last word on anything. To the end, Nolan trusts us to seek out and think about history for ourselves. If we elect not to, that’s on us.
68 notes
·
View notes
Everyone should go watch Densel’s Animal Crossing series on YouTube right now just for these moments alone
123 notes
·
View notes
hes still my favourite
65 notes
·
View notes