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royalarchivist · 2 months

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Quackity: These past days I've been in many calls, and I'm not done yet. I've spoken to a lot of people and creators. I've read your comments and I'm well aware of what needs to be done to carry out this project. I want to tell you all, beforehand, that for me the team's well-being is fundamental. I'm very involved in this topic to sort it out and I want to make that very clear. I want to tell you something... I want to tell you all that the administrative staff responsible for so much harm to the project has been fired. Specifically, those who made decisions without my permission, affecting the administrative and financial area of the project. Consequently, after this, I was in charge of doing a financial analysis that's carrying out for the QSMP.

Guys, to be really honest, it was not going to last. Therefore, I've had to make deep drastic structural changes that have lead me to reduce the performance of the server down to the most essential, and this is in order to ensure the well being of everyone involved in it. Having said this, I want to give a very important update: I want to let you all know that the QSMP will have to slow down temporarily. This is to ensure this new structure adapts to the project, because it's a restructuring that's taking place. I'm letting you know, and I reiterate, there are no voluntary positions inside the QSMP.

At the moment, there will not be any more individual update accounts of all 5 existing languages in the project. In any case, during this transition, there's going to be a temporal absence of all Eggs and NPCs. I know these are difficult changes, and I repeat, it's temporary until we adjust to these new conditions that will improve the performance of this new structure that's being made from scratch, both in the administrative and financial part. I'd like to reintegrate people fro the QSMP as time goes by if a financial viability can be found for the project Taking advantage of this update to tell you guys that within the changes of the server as it is, creators will have full control of their lore and stories. The team will not intervene in the way that it was being done. Moreover, efforts will be made to change the competitive dynamics inside the game so as to ease up the game style for the creators. Like I'm saying, all of these changes, and more, are being carrying out to have the project as best as possible, and they're being done little by little. This is a whole new structure that will ensure the best continuity and experience for the creators, the community and the team behind.

Guys, I want to make very clear that this is restructuring process, and again, it's not a fast one. The server being open does not mean everything's perfect, I understand that very well. Conversations will keep taking place, communication will continue and the constant improvement of the project as well. I ask, please, for everyone's patience and understanding regarding all changes. Please do wait for official announcements since a lot of incomplete and incorrect information is being spread. I want to tell you all something- if you don't trust in these changes or have many doubts about it, and don't want to consume any more of the project's content, I understand 100%. I have a personal commitment with the QSMP and I will work until it functions in the way it is supposed to do.

Lastly, I want to let you know that it was being worked on for months on finalizing the integration of Korean creators to the QSMP. For that reason, tomorrow we will be welcoming the new Korean creators of the QSMP, of course, taking into account all the changes I've just mentioned. I hope you can give the new Korean members warm welcome to the project. And as you know, their schedules are earlier. For everyone who would like to watch, they will be joining at 11am Mexico time and at 9am US time. Basically, I wanted to give that update regarding everything that's being done within the project. Again, thank you for your patience and understanding- these are necessary changes and I'm glad they're being done now. And many more things will keep being adjusted.

via @QuackitySubs

#Quackity #QSMP #QSMP Official #Translated #This is very long and I bolded parts to make it easier to read #but if there's a way to make it more accessible to folks lemme know!#I personally find the bolding thing helpful but I know everyone is different #Edit: got rid of the additional ''Quackity:'' bolded parts since that's unnecessary #since. you know. he's the only one speaking here #Quackity Subs also missed a few words in here so I added those in but otherwise this is exactly what was posted #Minus the part where they said ''fro''#I don't know if they meant for or from but that's a very vital difference so I'm leaving that as-is #IMO: It's reassuring hearing the full statement #''Please do wait for official announcements since a lot of incomplete and incorrect information is being spread''#is an especially important reminder #There has unfortunately been a lot of misinformation and catastrophizing / doomposting going around #I understand it's a very scary stressful time for many people #and it sucks being told to be patient #but we actually DO need to be patient if we want to get actual accurate information

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coquelicoq · 7 months

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what i like especially about the pronouns in the goblin emperor is that this language doesn't just have the T-V distinction (aka informal vs. formal second-person pronouns, in this case 'thou' vs. 'you'), it also has informal and formal first-person pronouns. having BOTH of these distinctions in the same language lets you fine-tune your tone by mixing and matching. with only one axis of formality, when you use informal pronouns, are you being familiar in an intimate way, or in an insolent or dismissive way? when you use formal pronouns, are you being polite or standoffish? you can't tell just from the pronouns; there's ambiguity. but a language where you can use a formal first-person pronoun in the same sentence as an informal second-person pronoun allows you to distance yourself (via the formal first) while also being familiar (via the informal second), thereby achieving the conversational tenor known to linguists as Fuck Thee Specifically.

#just kidding i don't know what linguists call that tenor. or any tenors. i'm not totally positive what a tenor even is #but i can't let that stop me from writing a jokey post on tumblr dot com #register is a very interesting area of linguistics that i know very little about #so i'm probably revealing the depths of my vast ignorance here to all the sociolinguists who surely hang on my every word #but i've always thought of the formal/informal pronoun thing as being about two things: intimacy-distance & rudeness-politeness #and of course you can usually tell from context whether a formal pronoun is meant to indicate distance or politeness #(plus distance and politeness are related to each other (to various degrees depending on culture))#but it seems like it would be cool to have a built-in alignment chart of sorts just for pronoun combos #instead of prep jock nerd goth...why not try intimate self-effacing polite superior?#the goblin emperor #pronouns #register #sociolinguistics #my posts #f #anyway i know i said i wasn't going to reread the goblin emperor...but guess what. lol #and i edited my tags on that earlier post but fyi the language DOES distinguish between plural and formal singular pronouns #i had said i thought it used the same pronouns for plural and formal but i just wasn't paying close enough attention #so anyway i just reread the part where maia is talking to setheris in formal first and informal second #and you can see setheris going ohhh shit. oh shit oh shit oh shit #i'm in biiiiiig trouble #you sure are dude. that's the Time to Grovel signal #it's interesting because at the very beginning of the book when i first saw the formal first used i just thought it was the royal we #because i knew the main character was supposed to be royalty #but then EVERYONE was doing it. so it's not the royal we it's just the formal we #however. this does make me realize that the way the royal we would function in a language that retains the t-v distinction #is the same way i'm describing here. it's just reserving that particular tone (i'm better than you and am displeased with you)#for royalty only. which makes sense given royalty's whole deal

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ohitslen · 11 months

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Promises

He should know better.

Wolfwood has seen Vash make promises, or hear about the ones he has made in the past. He has also seen the end of each one and how every single time the outcome is less than what was promised.

Vash likes to say embellished words, with a soft and determined voice that lures you into his hopes and dreams, it almost feels like a spell, as if he was calling for you to come closer and believe him. But Wolfwood knows better.

He believes in him, but Vash is much closer to being an idealistic dreamer than a realistic person like he is. He might not be aware of it, but his beautiful promises of a better future give people hope, a hope that is usually embraced with things like disappointment and abandonment.

He doesn’t think that Vash does it with the intent of looking for any of those things. Far from it, he might even do the impossible in order to accomplish said promises, but life is too short and humans are too mortal for his wishes, so in the end, most of Vash’s promises end up being empty or they come to haunt him as a reminder of his failed vows. He admires the man, for his perseverance and idealism, but he also hates the man, for his stubbornness and lies.

Wolfwood knows all of this perfectly to a tee. And yet, he has also found himself being drawn to his world. Because he also dreams of it.

A world in where his always present calls for love and peace exist, a world that is far more kind than what he might deserve, a world in where the kids can be happy and roam around without any worry in their heads, a world in where he can peacefully turn grey with age and his hands can shed the harsh callouses of his life. Who knows, maybe a world in where he and Vash can finally know the peace that was taken away from them, in where they can share the calmness that comes with the passage of time, indulging in every tick of the clock welcoming with open arms whatever comes their way without any fear.

It is a beautiful promise. But Wolfwood is a person that has to keep his feet on the ground, indulging in “what ifs” would only make things harder than what they had to be. He can’t have any ifs if he can’t make it through the now. And by the way he is carrying his present, he is doubtful he will even get to see a shed of that promised world that Vash tries to drag him into. So why mourn something he doesn’t even have, or will ever have for that matter.

He hates the way Vash seems to promise things so easily. His tongue silky and pliant, slipping divine words one after the other, promises way too big for what that barren world can actually fit.

But when Vash talks to him in that holy voice of his, when he hears him say “It’s okay, everything will be alright, I promise” so gently right on his ear, while he holds his face so tenderly making him focus on him and nothing else, he wants to believe him.

He has seen the end of his promises. He knows how impossible they are. But for once, he wants to believe it too. Believe in that loving world that will cradle them both until they fall asleep, listening to the soft sound of the wind laughing while the moons smile upon them.

So he allows himself to indulge in the warmth of his palms, leaning into the comfort of his existence, feeling the soft air of Vash’s breaths against his skin while their foreheads meet in a touch that feels like a hot brand that will melt him.

For an instant, he allows himself to be selfish and believe that maybe, that is how living in that world Vash so desperately fights for would be. Soft and warm, making him feel safe in the hollow of Vash’s hands where the world seems to fit so well. A world where the blue sky is a blanket that covers the love and care that is nestled in it like the one in Vash’s eyes. He wants to see that world.

For now, he will selfishly think that the world that fits in Vash’s hands is right there in where he is holding him, where his blue eyes are drowning in the light of the sunset dripping with love and care while looking at him, that the gentle touch of Vash’s thumb wiping his tears is the same as the kiss of that laughing wind in that distant future, where the smile of his eyes overcomes the smile of the moons.

He should know better. But he loves the thought of that world. And he hopes that Vash will get to see that world, because that gentle sight is more fitting for someone like him than the one of his violent world.

He promises to himself that he will do what it takes for that day to be possible. Even if the end of that promise will be empty for Nicholas, he knows it will be a full one for Vash. So it really isn’t that empty for him after all.

He hates his lies, and he hates how true they sound, but Vash’s embellished words are far sweeter than his bitter thoughts so they feel better on his insides, almost like a balm that cares for the wounds of his throbbing, painful reality.

He should know better.

But aren’t humans weak at the promise of love?

#yeah….mm…mhm yeah #my thoughts were going crazy with this one. because WW crying is something that has me week on the knees #WEAK FFS #also the thought of him becoming bare and emotional at the hands of Vash makes me want to jump around until I pass out #think of it. he is afraid of him in a way. but he trusts him so deeply too it’s such a contrasting and little contradictory thing #more like. denial after denial but yk what I mean. because that’s the whole post #also as a fun fact. while on the making of this thing the line of “it’s okay. everything will be alright. I promise #it’s meant to be said by Vash to WW #but also I did it considering that a)Vash is saying it to himself as well and b)it’s something WW wants to say to Vash as well #they are both incredibly pained men and they know it but don’t adress it. so verbally saying such words to each other issssUUUEHWHAGAH #ah yes. the intimacy of being emotionally vulnerable with the person who you would trust your life to but never openly say shit to eachother #isn’t that such an amazing flavor? I won’t lie to you it’s one of my favorites #trigun #vashwood #vash the stampede #nicholas d wolfwood #trigun stampede #trigun fanart #wolfwood #nicholas trigun #nicholas the punisher #lenssi writes #lenssi draws #trigun 2023 #trigun 98 #because I did a mishmash on WW design bc this is meant to be TriStamp time skip in my mind #his eyes were originally their canon steel blue/grayish tone. but while doing the lighting the brown looked gorgeous #i couldn’t help myself so I left it that way. because there is something so beautiful abt his eyes shining like that in #the afternoon light while he becomes undone under the sunset ya feel me?#OHFUCKIALMOSTFORGOT another little detail. Vash’s right hand doesn’t have a glove and it’s on purpose btw you’re welcome

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augustjustice · 10 months

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I am gripped by the idea of Kas!Steve.

But specifically...broken Steve, who’s been tortured and tormented and mind-controlled by Vecna, until he’s been sharpened into a weapon, his old King Steve persona pulled on like reshaped armor but now so much worse than Steve himself had ever been.

Kas!Steve who’s cocky and smug, who spews every cruel thought the gang has ever worried he’s had about them, clawing at each one of their insecurities with piercing accuracy. Because he knows them, from years of being friend and confidante. Their beating hearts, their strengths and weaknesses. So he taunts Robin by spilling every precious secret they’ve shared. Mocks Dustin and all the kids for being pathetic and snot-nosed, following in his footsteps like lost puppies. Needles Eddie about how obvious his crush on him is. Tells Nancy it really is their fault, what happened to Barbara all those years ago.

And it’s all so pointed, feels so specific, so...real, the group can’t help the worry that gnaws at each of them (just like Vecna would want), that this is what Steve really thinks.

Even more so when some of his barbs draw attention to the ways they’ve treated him. When Steve laughs at the thought of them overpowering him when for years they’ve been relying on him to be the tank, to take all the hard licks. Do they really think they can take him down? Like this? It’s as comical as it is pathetic, this new, dark Steve, the betrayer, the bloody, tells them, and Dustin sees the way that Nancy flinches, catches Robin’s pained eyes, guilt gripping each of their throats.

The question lingers, even hours after Steve has slunk back into the shadows, another battle they barely scraped out of alive behind them.

How will they do this without Steve?

#stranger things #steve harrington #steddie #platonic stobin #steve and dustin #the party #platonic stancy #kas!steve #kas the betrayer #of course all is solved by the power of love #because steve can cut with his words and his hands at all of them #but robin will never leave him because she's his platonic soulmate forever #because dustin said 'if you die i die' and meant it #because eddie knows now what a good guy steve is and isn't willing to let him go until he gets to find out how much #because he's the party's babysitter now and forever and like hell they're not gonna look out for him NOW when he needs them #they get through to steve with the proof that there is nothing that he can do or say past or present that will stop them from loving him #anyway someone else please write this since i'm a disaster

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presiding · 4 months

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a doctor turned serial killer turned doctor again, an actor who paints, a gang leader, a mining baron, and a vice overseer walk into the room.

oh yeah and they lead karnaca now.

dishonored 2 is my fav game but i think it's mid, story-wise. here's why dh1 works and why dh2's overarching story sorta misses

tl;dr: story integration is critical for gameplay that offers audience payoff, but emily's personal arc from dishonor to honor is inconsistently demonstrated in the story, and is not an interactive part of the gameplay.

essay/long version under cut >

recap: what's dishonored's deal

[skip if you want] dh1 is an underdog story: corvo is an honorable man swept up in the machinations of a callous city, so his canonical ending being 'this child will rule over an empire' isn't about the child's rule but rather about corvo's reputation being restored in a more hopeful city, due to his & the player's rejection of the violent connotations of the tagline 'revenge solves everything.'

similarly, in dh1 DLCs, daud's story arc is that of an anti-hero: a dishonorable man who realises too late he has done irreparable harm. he sees the error of his ways after a single monumental death, and eventually a single life redeems him when he/the player stepped in to circumvent a terrible fate for a child, enabling her to rule unfettered.

daud & corvo come to a satisfying conclusion within the extent of their narrative arcs. it doesn't matter that a child on a throne isn't really a fix for a decaying empire - the player's actions throughout the city of dunwall was what mattered - and these stories could be framed as parables. in that sense, young emily as a ruler is a metaphor for a hopeful future for the city & empire.

dishonored 1 & its DLCs are also great examples of storytelling with perfectly integrated gameplay - you, the player, worked towards the outcome that redeemed the protagonists.

in your efforts to save young emily, you either achieved a good outcome (corvo) or prevented a worse outcome (daud).

bringing us to dh2 -

what's emily's arc

emily's arc is a coming of age: we're introduced to a reigning empress who questions her role & skillset ("am i the empress my mother wanted me to be?"), then her titular fall from grace occurs. from there, she learns to reject the violent, selfish connotations in 'take back whats yours' tagline (a la daud & corvo!) while rediscovering why her rule is critical to the empire.

emily's rule is no longer metaphorical, but:

a literal thing for audience assessment (is emily a good ruler?) AND

the crux of her storyline.

at the beginning of dh2, emily is introduced as a disengaged leader ("i wish i could just run away from all this;" "i dont know if whether i should sail to the opposite side of the world, or have everyone around me executed"). the antihero has a precedent for the dishonored series in daud, so it's not at first glance an issue*, however, the fact that emily has ruled poorly reframes corvo & daud's endings as being less than ideal (a moralistic retcon) *we could talk here about how ready an audience was in 2016 for a flawed women as a protagonist, hell, even in 2023,,,

throwback to the beginning of this essay when i said:

'this child will rule over an empire' isn't about the child's rule but rather about corvo's reputation

emily's story arc, unlike for daud & corvo, is literally about the quality of her rule. we're no longer in metaphor territory (ironic phrase): a parable-style ending doesn't work.

does emily become a good ruler

we know she becomes a good ruler because the game says so. it is narrated to the audience via a (literal) word of god in the space of 30 seconds, after the final boss. the outsider tells us that emily becomes known as Just & Clever.

drawing a distinction here - this narration is not the same as the player actively being involved.

the player does not throughout the game become aware that emily has made political allies. during the game, she doesn't talk to these characters about saving karnaca or being a better ruler to the empire (there's a few lines might imply it, but you need to be actively looking and being careful to wait for every voice line. it's a far cry from daud & corvo's fight to save emily being unmissable - even though daud doesn't know at the beginning that's the goal).

how does the game show it

you can coincidentally not kill most of your subjects and never be aware that emily is looking to restore karnaca by means of instating a council - it's never brought up. it *couldn't* be brought up, because that council serves under the fake duke (armando), who is the last person she speaks to before she leaves for dunwall. its her suggestion that he rules karnaca, but armando's condition is that he will rule as he sees fit.

to back up a bit, emily's canonical method of restoring karnaca is by banding together key allies - hypatia, stilton, [byrne &or paolo], pastor, under a council beneath the duke's body double. they are passionate people who would each individually make worthwhile advisors, but if you think about those characters sitting at a table trying to reach an agreement, it feels like an assortment of people that emily didn't kill along the way and doesn't feel organic (up to interpretation). it's not stated if emily herself banded this council together, but logically she must have (worth a mention these are mostly characters that you as the player had reasonable rationale to kill during a high chaos run, except pastor). the underlying concept may be that karnaca's power is returned to its people - which is interesting given that the monarchy remains and armando's decision is final.

this overarching solution could also be taken as a critique to dh1's 'put your kid on the throne,' which is another reason its worthwhile looking at how emily was shown to be a better leader. obviously my point isn't that her solution was bad given the circumstance, but i mean she has very little agency here in all. if emily was shown to be more controlling as a leader, this could be interpreted as character growth, but that's not the case.

coming of age

how do you learn & grow when you can't specify your failings? emily doesn't really touch on her shortcomings as an empress. she non-specifically worries delilah makes a better empress than her. it's hard to argue her worries are meaningful when someone good at their job will still worry when lives are in the balance.

emily's best 'aha' moments (eg. crack in the slab comment about gaining perspective) are consistently undercut by a conversation with sokolov or meagan afterwards in which she demonstrates she hasn't learned anything (before the grand palace, emily condemns 'toadies sucking up to me' and is reminded by meagan that she's part of the problem). the story is confused about what it's trying to say about emily's progress, and when she's meant to show progress, if she was meant to show any progress at all. it could be argued that emily was never even a bad ruler, she had just been fed misinformation about the problems in karnaca and been the victim of slander by her political enemies. the game doesn't make this clear - it's easier to argue that the opposite is true given that her allies only have criticism.

worth a mention here that the heart quotes about armando - a fake ruler - interestingly mirror emily's character concerns. "see how he sighs? his life is a gilded cage." but this essay is already long.

while corvo & daud spend their games (and through the gameplay) 'earning' their redemption, emily is being led by the NPCs around her to a conclusion and a fix for the political mess in karnaca: meagan & sokolov guide emily to her missions, and there's no recurring quest for emily to investigate possible allies. she is able to gather the people she hasn't killed to herself by manner of... post-game narration. during the game, she's primarily concerned with getting her throne back.

an easy fix: if there had been less dialogue & narrative focus on emily's failings perhaps the ending would have felt more satisfying. it has the feel of cut content, but i don't know what was cut to be able to comment on it.

so what went wrong?

i can't help but wonder if arkane were worried they would lose a certain demographic if corvo wasn't playable (may have been deemed too much of a risk - 2013 was a different time), and so they had to take out story elements that were unique to emily's growth as a character/empress, because the usual storyline/gameplay integration had to work for both characters - in other words, gameplay that made sense for both corvo & emily was prioritised before emily's story & character development. which is a silly problem to have in a game that added character voices for the sake of improving characterisation - maybe emily's tale would have felt more akin to a parable if she had less lines that betrayed her ignorance (to the disdain of those around her).

i wish more care had been taken with emily's story. most players will never really notice the large variety of different endings - they're not particularly satisfying in and of themselves.

it's ironic that one of Emily's complaints is about her father/protector being overbearing, when his (parallel universe) presence in the gameplay may be one of the reasons her own narrative arc falls flat.

what are the upsides here

changing tune from what didn't work - don't you think the concept is fantastic? it's a great idea overall - can you imagine if the coming of age storyline was better integrated into the game?

it's valuable to talk about the integration of story and gameplay and characterisation from a craft perspective. dh2 genuinely is my favourite game - it's beautiful, the imm-sim design philosophy makes the world a delight to explore, the combat gives endless creative options for tackling any fight, there is a far greater diversity of cast in an in-text canonical way. there's loads to love!

i love emily as a dodgy leader, to me it adds interesting dimensionality to the outsider's narrations - of course in dunwall there's never a neat happily ever after! emily, like the outsider, both work well as characters who hold ultimate power but aren't necessarily worthy of it - and this makes perfect sense for the dishonored universe's morality & critiques of power. however, within this grey area there's still plenty of room for a satisfying ending, which isn't what we ended up with, whatever the true reason for that was. and also, damn, emily's a marked assassin empress, if she can't lead well then who can?

while dh1 was criticised for its narrative simplicity, dh2 in contrast and in hindsight shows us that simplicity isn't so bad - there's satisfaction in gameplay achieves a clear, simple narrative goal.

#are you a dh1 enjoyer but less so a dh2 enjoyer?#have you ever wondered why you don't love dh2 as much?#here's 1.8k words that might articulate some of that.#light reading.i guess #this essay wasn't meant to cover everything - just the core of the plot and why its important to integrate story & gameplay #and to compare dh1 & 2 #dishonored #dishonored 2 #dishonored 2 spoilers #emily kaldwin #daud #corvo attano #this week i'm cracking things out of my drafts!#<333 don't get me started on doto.#some of this might be contentious. idk i try to live in a bubble #the meme version was easier to read i know i know #this essay would have been a lot longer had i integrated more references from the game #i know a few others have said this but imagine if they went a different way with emily #like she realises shes not fit for the job and maybe no one is and says fuck the system cause shes got a rebellious streak #and does a kickflip on the monarchy and institutes something else. i dont even care what. make it funny #and then for the sake of continuing the trend we spend dishonored 3 undoing the horrible leadership emily instates <3 #i think they really loved emily as a character. i FEEL the love i believe its there.but didn't think enough bout how she would be perceived #there's a good couple comments from baldur's gate 3 devs about how much work goes into writing women to account for sexism #there's more that i could have added to this essay but for brevity's (ha.ha) sake i'll leave it there #other textposts about this game that i see around tend to romanticise dishonoreds story a little more

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girlgerard · 5 months

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mommm white people on tumblr are misconstruing my posts again despite the post being entirely about how important wording is + how i don’t feel comfortable posting large statements when i haven’t fully processed them yet.

#if you want to put me on a blocklist for loving netanyahu you can! i don’t! and no matter how many times i get told i do #i still don’t!#i literally said i hope his balls get cut off IN THAT POST #i don’t know how that read as unclear.#perhaps there are no hidden genocidal messages behind the wording of my tumblr posts - who knows!#when i said i cared about every single civilian living in that land i meant it. if you decide that i actually don’t that’s not my problem #if you somehow took my words and decided that what i really meant is that i’m a government bootlicker who loves murder #you can do that all you want. it won’t make it true and it won’t help save any lives #i was in ramallah and jerusalem six months ago. have you gone?#if the answer is no maybe think about that for a second #moreover if you’re viewing this from a purely racial or religious framework you have no idea how to navigate this subject #i don’t view israel and palestine through which government i want to back. why the fuck would i do that #palestinians and jews and everyone else in that land is who i care about. i care about gazans #if that’s not enough of ‘a side’ for you i don’t really think there’s much of a conversation to be had.#do you think i wake up every day NOT thinking about gaza? do you think i wouldn’t feel nauseous every second of every day because of gaza?#do you think that within everything i’m saying that the most logical conclusion would be to post all of my thoughts on tumblr?#because if you think any of that we’re not going to have a productive conversation. i don’t take kindly to being told my own emotions

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hephaestuscrew · 6 months

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Pan-Pan, Boléro, and Minkowski's different responses to loss

I want to compare two key lines of Minkowski's which indicate very different responses to grief:

In Ep29 Pan-Pan, Minkowski breaks down and says "Doug Eiffel is gone! There was nothing we could do to save him. It wasn't anyone's fault. It's horrible, and pointless, and it just happened."

In contrast, after arriving at the funeral in Ep46 Boléro, she says "[Lovelace, Hilbert and Maxwell are dead] to make the fact that we're not gone yet important. They're gone... so that we never forget how important it is that we're still here."

TL;DR: In Pan-Pan, Minkowski expresses her unprocessed grief through despair and hopelessness. Whereas in Boléro, she is able to find hope in the loss and lead her crew in trying to move forward. I suggest a significant reason of the difference is the presence of Eiffel to force Minkowski to confront and process the sense of loss.

Pan-Pan: "It's horrible, and pointless, and it just happened"

In Pan-Pan, the whole episode is full of anger and despair, but Minkowski speaking about the horrible pointlessness of losing Eiffel is one of the most painful and hopeless moments. It doesn't feel like she's really speaking to the others. She's focused on her internal despair (as suggested by the fact that she goes on to talk about the cracks, which Lovelace and Hilbert aren't supposed to know about).

The only potentially positive thing Minkowski says here is her recognition that "it wasn't anyone's fault". When Hera and Hilbert have been blaming Lovelace, and Minkowski has been blaming herself, it's significant that she acknowledges that sometimes a horrible thing just happens without there being anyone to blame.

But in this context, and in the tone of voice Minkowski uses, even the lack of blame doesn't really feel like a positive thing. If Eiffel becoming stranded was just pointless and random, if there was nothing any of them could have done to save him, then the next tragedy might be just as unpredictable and unpreventable. Minkowski strikes me as the kind of person who can sometimes fall into the trap of subconsciously wishing that the awful thing is her fault because then at least she'd have control over something. In her train of thought here, the lack of blame is followed by focusing on how horrible and pointless what happened to Eiffel was. The only conclusion she can draw is "it just happened". There's no sense of hope in those lines. Eiffel being stranded just happened, and so do the cracks, and the crew are at the whims of brutal fortune with no meaning to any of it.

Boléro: "They're gone... so that we never forget how important it is that we're still here"

In Boléro, Minkowski can't even say that the tragedy wasn't anyone's fault. For each of the deaths, someone pulled a trigger. There is blame, and some of it lies at her feet. She didn't want to come to the funeral because at first she didn't know what she could say about the deaths she feels responsible for.

Yet even so, this time she finds something reassuring she can say to her crew, a grain of hope she can provide without attempting to diminish the loss: "[they're gone] to make the fact that we're not gone yet important. They're gone... so that we never forget how important it is that we're still here."

In another show, or another context, this kind of line might have had an 'everything happens for a reason' tone, which is something I deeply dislike as a response to other people's loss. But it doesn't feel like that's what Minkowski is saying here at all. She isn't trying to make any grand philosophical statement about the ultimate beneficence of the universe, or about how mortality gives meaning to human life. What she says here is working on a much more personal level. It's more about finding something other than despair that the crew can take from what has happened. This tragedy may still be horrible, but it provides a reminder that they are still alive in a context where that's far from guaranteed. Minkowski emphasises that the fact the survivors are alive matters - her crew matters. I'd argue that this contrasts with the 'it just happened' outlook discussed above.

I don't know how much Minkowski fully feels the importance of them still being there in the moment, but it's something that she can offer her crew, something that she can say in a situation that words can't grasp. I think the moment when she joins the funeral is such a key moment of her leadership. In the end, despite her doubts and struggles, she's there for her crew. Eiffel brought them together for a funeral, but he doesn't know what to say when Hera asks why they have to be gone. Minkowski enters just at the right moment to support her crew and she provides an answer to Hera's question. It's not a perfect answer, but it allows the funeral to move forward. It allows the crew to move forward (even if that emotional movement is somewhat thrown off by a dramatic change in the circumstances). Minkowski starts off the eulogies; she leads her crew in the acknowledgement of what's been lost.

Why such a difference in responses?

There's lots of ways you could interpret the difference between the outlook of these two moments, and there's probably more to say about it though the lens of Minkowski's character development than I'm going to say here. But for me, the main difference between these moments is that, in Pan-Pan, it feels like no processing or recognition of grief has really occurred. When Minkowski says "Doug Eiffel is gone!", it almost feels like the first time that Minkowski has fully confronted and acknowledged the loss. Eiffel has been lost in space for 116 days, but it's only at the end of this episode that Minkowski brings herself to say in her distress calls that he is "presumed dead". Whereas in Boléro, she's already eulogising the dead and thinking about what can be learned from the loss, not even a full day after the mutiny.

Obviously there is much less ambiguity to a body bag (or least there would be, if not for alien interference). But I can't help thinking that the difference between the attitudes towards loss which Minkowski displays in these two quotes is less about the difference in the kind of loss, and more about a situation that prompted and enabled the processing of emotions in Boléro: namely, the funeral. After Eiffel was stranded in space, I think Minkowski probably went months without looking her grief in the eye. But after the deaths of Lovelace, Hilbert, and Maxwell, Eiffel's suggestion of a funeral forces Minkowski to confront her complicated emotions and provides a space in which she can offer direction to her grieving crew.

This is a good illustration of how I think Minkowski and Eiffel complement and support each other in a really valuable way. On his own, Eiffel couldn't provide the leadership that the crew needed for the funeral to work. But without Eiffel, and his determination to recognise the emotional weight of the three deaths, the funeral would never have happened and Minkowski would never have been in a position to provide hope and direction to her crew. When Eiffel was the one the Hephaestus crew were grieving, Minkowski couldn't offer much emotional direction to her crew beyond despair. But when Eiffel is beside her in the grief, saying that the grief deserves to be felt, then Minkowski can find a way for them to move forward emotionally. It's not the deaths that remind them how important it is that they are still here. It's the grief. It's the ability to confront that grief together.

#Wolf 359 #w359 #Renée Minkowski #Renee Minkowski #Doug Eiffel #I know that this is a lot to say about two short-ish quotes but I think they are symbolic / indicative of broader patterns #Also some of this probably contradicts things that I've said at other points #about how Minkowski dealt with Eiffel being stranded in space #But it's complicated. okay?#Sometimes I want to think about her grieving him and what that would look like #And sometimes I want to think about how in his absence she's much less able to process her emotions at all #Either way I'm emotional about them #This wasn't even initially meant to be a Minkowski & Eiffel post tbh #I just had this thought as I was writing this #It also wasn't meant to be 1000 words but these things just happen #Btw when I say I dislike the idea 'everything happens for a reason'#I fully respect if people find that a useful approach for their own personal misfortunes #but as soon as you start saying it to anyone else who is suffering #it feels distasteful to me #Maybe everything happens for a reason but sometimes the reason is shit etc #Eiffel & Minkowski #w359 spoilers #Wolf 359 spoilers #the empty man posteth #tw death #tw grief

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skullsandcorals · 4 months

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https://www.tumblr.com/skullsandcorals/738285799236321280/im-dyslexic-im-not-stupid

1. Holy shit I am so happy I found another person who gets how smart Percy is, and gets that every instance of Percy looking/getting called stupid is due to his dyslexia or people not telling him anything.

2. Which book/chapter is this from? I need to bookmark it ASAP and start shouting it from the metaphorical tumblr hills.

3. We really don't talk about how good a mom Sally is? Like yeah she's badass and gentle but like. She respects Percy. When the school system failed Percy, she's the one who still not only believed that he was smart but still acted like it and probably taught him too. Queen mom Sally Jackson right there.

1.) YEAHH EXACTLY. Or his ADHD 😭 It drives me NUTS whenever Percy is treated as the dumb + comedic guy. Like I get what they're saying and why they're saying it, but sometimes his character gets reduced to JUST that and it hurts my soul. I get that he's funny as a narrator and as a character and sometimes he can be a little "clueless" but it just feels like some people like to think of that as either all he is or a huge part of who he is. I believe I've also seen Leo get this treatment despite literally being insanely smart at such a young age so. that's...fun. They can be funny and smart too 😞

2.) It's from the 10th Anniversary edition of The Lightning Thief! It's Rick's cover letter for the first readers of the manuscript & a note from the narrator. I don't have a copy of that edition myself, but I've seen some pictures of it on Rick's blog and someone posted one of the pages on Reddit (where I got it from).

Here's the full page from Reddit (source) & the picture from Rick's blog where the page is visible (source):

3.) YEEEAHHHH I LOVE HER SO MUCH!!! What I would do to get adopted by her rn. The way she talks to him makes me kinda teary-eyed because she's just so...you can just tell how much she loves Percy and that she would do anything to make sure he grew up resilient and kind in a world that's always out to get him. She believes in him so much that it just makes me lose my mind a little. It's just so sweet and I can't help but feel so moved by it.

I'm not sure if you've read Chalice of the Gods, but there's this scene where (spoilers, kinda) Sally talks to Percy after the whole thing with Hebe and honestly this scene makes me want to sob and cry and weep

“You are a lot of things, Percy. But helpless isn't one of them.”

#personal mail ♡#long post #pjo/hoo #percy jackson #sally jackson #percy jackson and the olympians #the lightning thief #chalice of the gods #don't get me wrong tho. i know percy can and had acted clueless or oblivious or whatever.#but my gods. at least think about it for a hot second.#adhd + dyslexia + people just not telling him shit + other characters treating him like he's stupid + gods know what else #i wouldn't have said anything if they were just talking about the book #and about that one specific scene where percy called his teacher an old sot #because he did admit he did not know what the hell that meant.#but c'mon :/. percy will say anything relatively smart and people will discredit the shit out of his intelligence and knowledge 💀#has acted*** just ignore any typos I'm sorry 😭#the impertinent thing isn't even that big of a deal 😭 it's like...one relatively “big” word. but gods forbid right 💀#but anyway I love sally she's great and awesome and no she is not perfect but she sure tries her damn best to be who Percy needs her to be

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caramsels · 7 months

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tell me more about this "mono isnt a human" theory thats really interesting

Thanks for asking! A few people have asked for my thoughts on Mono’s identity, and because I will take any opportunity to ramble about Little Nightmares, I wrote up my (hopefully intelligible) interpretation of Mono, and why I think he was always a Resident of The Nowhere, instead of a kidnapped human child like most of the LN kids. This theory is super connected to a few other ones I have, so I’ll rattle descriptions of them at the start for context. Also this post is insanely long I’m sorry

The Nowhere

The Nowhere is its own world that real children get kidnapped to, it feeds off of humanity and kinda functions like your local mall. A weird amount of emphasis is put on jobs in The Nowhere, Residents are often referred to solely by their job titles (The Janitor, The Doctor, The Teacher, etc. etc.)

Besides having a job in The Nowhere, a Resident's proximity to humanity seems to give them a higher status as well. In a LN1 interview, it was said that ALL residents wear masks (as opposed to just the Twin Chefs); we even see in LN2 that The Doctor makes and presumably sells these masks. A humanoid appearance is something that most Residents want. The more humanoid a Resident looks, the more powerful they are perceived to be (not always, because of The Ferryman, but he’s just chill like that.)

Kids and valuable teens/adults (like the circus performers and Otto from the podcast) feed The Nowhere kinda like how animals feed humans. Some Residents are given jobs to maintain this system. Some jobs require more power than others however, typically these are the jobs that require a Resident to keep control over an entire area, which leads me to…

The Cycle

The head honcho Residents like The Thin Man and The Lady are more humanoid and more powerful than the others, this is because they are handpicked and raised from birth to inherit these forms that are passed down over time. This one is super important to most of my points about Mono, so I’m going to spend some time defending it.

The Lady (prior to the Six stuff) had 4 predecessors, each represented by a different mask/hat that you can collect in VLN; This means that The Nowhere (at the time of the first loop in LN2) is on its 5th cycle. The Thin Man is also a mantle that is passed down, we see the previous one interact with Mono before Mono has even entered a time loop in the LN2 comics. This Thin Man, when datamined, notably wears a different hat than Mono’s iteration.

Furthermore, when asked if Thinny Lad is a mantle that is passed on or Mono in a timeloop in an interview, the devs had this to say:

The Pretender (VLN) is a good example of what I think Mono is supposed to be, and what the child forms of the 5th cycle Residents were. The Pretender is a humanoid child with supernatural powers and a strong sense of loneliness. She has her own mansion and Resident servants. The Pretender is the heir to a currently unknown position. She has a portrait of her and five past iterations on her wall, followed by another one of her and her two Resident parents. The Pretender is native to The Nowhere.

But… who is the boss of all the Residents? Who assigns these jobs? Who creates the natural Residents and brings others into The Nowhere?

The Eye

(you could argue its the ferryman but i think he works under the eye too. employee of the year)

I think most fans agree on this one so I won't spend too long on it, but basically I think the Eye is the unseen overall antagonist of Little Nightmares, overseeing everything and everyone in The Nowhere all the time. The Eye feeds off of misery and has a fate planned for everyone, it is not happy when anything throws a wrench into these plans. I don’t think we are meant to know The Eye’s motives, not yet at least, but if I had to guess; they have something to do with an extremely misguided and angry feeling of loneliness, as that is a prevalent theme in an insane amount of Residents. This finally brings me to Mono.

Mono’s Familiarity with The Nowhere

Mono is very familiar with Pale City, he is much more aware of his own fate, abilities, and world than he’s given credit for.

In the door/boat cutscene, Mono watches every TV in the water until it exits the frame. This early in the game, Mono already has an inherent connection to TVs.

Before Pale City comes into frame for both Six and the player, Mono is already standing, he is familiar enough with the route to Pale City that he knows they arrived without even having a clear view of their destination. This is because Mono has been to Pale City before, in the sixth episode of the LN2 comics:

In this comic, Mono met (and wasn't killed by) The Thin Man shown earlier. So to list off the amount of things Mono was already familiar with at the start of LN2: His connection to TVs, his connection to The Thin Man, and how to navigate Pale City. Mono having a lot of experience living in The Nowhere is demonstrated somewhere even more prominent too:

Kickass Character Design

Six’s character design intentionally makes her not fit in with her environment. While the color scheme of The Nowhere and its residents is mostly bland, monochrome, and washed out (sans the lighting), her jacket is highlighter yellow. This represents that Six does not belong in The Nowhere, she’s from the human world.

With this information to ride off of, Mono’s design becomes interesting. Mono’s design is a beige button up, tan trench-coat, and tan pants: A monochrome, muted outfit that fits in perfectly with the aesthetic of The Nowhere. Mono’s outfit including a key ring and a useful color scheme for camouflage further implies familiarity and experience with the way The Nowhere works. If Six’s simple, bright design represents her not belonging there, Mono’s muted, practical design represents the fact that he does.

His Mask

We actually know why Mono wears his mask, we have a direct answer:

You can interpret this as a representation of Mono being shy or insecure or a combination of multiple things, but I think it’s mainly meant to represent, as the description states: Mono hiding from The Nowhere, Mono running away from his fate. The Eye wants Mono to grow up and be the next Thin Man, but he doesn’t want to. Mono’s mask represents his fear, his refusal to use his Thin Man powers, his refusal to do anything that connects him to the world that hates him and wants him to fail; he wants to hide from that world, his future, and the reality of what he is. But ….

(straight up a post of Mono running from his fate)

Unexplained Powers

Mono’s OP reveal was the moment that shook me the most when I first watched my sister play the game; I’ve honestly always been shocked at how little it’s talked about in the community. To me, it was a reveal that told us we Did Not REALLY know much about the character we had been playing the entire time, and that was exciting.

When Mono fights the Thin Man and contorts the structure of Pale City, it is with ease. This is not his first time doing any of this, his body language does not match that of someone who just discovered/unlocked a new ability, him busting out the moves is framed more like a choice that he decided on just before removing his mask. The Thin Man boss battle is easy on purpose; because it's not too hard for Mono in universe, all he does after is wipe off his head nonchalantly and then he proceeds to warp reality. The ominous boss theme that plays during this fight isn’t even for the Thin Man, its MONO’S boss music. The Thin Man is the one who helps control The Signal Tower’s influence, Mono is the one interfering with it, he is the “Signal Interference.” The theme continues even after he’s defeated The Thin Man, further hammering in that it is his.

Mono has his own ominously powerful boss theme and the abilities of one of the most powerful Residents at his disposal; he is not a normal kid.

Mono even shares a power with the established Resident heir that we already know; The Pretender.

When The Pretender sees RCG eavesdropping on her crying, she yells so loud that it physically hurts RCG, causing the screen to glitch. I don’t think this is just a visual effect to show how loud it is to the player; I think this is an in universe ability. You know where else we see a powerful child amplify their voice on purpose to harm an enemy with a screen glitch/distortion effect? Mono in Chapter 5.

Mono and the fifth Thin Man

I think that Mono ran away from wherever it is he’s supposed to be, (probably the Signal Tower) and The Eye/ Thin Man want him back; this is why Mono is not killed by The Thin Man in the comic, just pursued by him

Loneliness

I don’t think I even really need to dissect how loneliness relates to Mono’s character, but he’s not the only character who deals with it. A huge recurrent theme with Residents is loneliness; the sense that they need something, they are missing something. The Lady has a bunch of dolls, The Janitor has.. a bunch of dolls in his own way. The Hunter too. The Pretender runs off to cry when her human doll friend gets messed up at her dinner party. The Resident we meet in Chapter 3 of the podcast is the most direct example so far of intense loneliness in a Resident, and not so coincidentally, it has a ton of parallels to Mono.

Narrative

For the rest of this post, I’m going to focus on how I think this theory fits into the story; because I think factoring in the cutscenes and storytelling beats is important when putting together something’s lore.

A little chatter about Mono

Mono is often characterized as a shy little boy who plays the straight man to Six’s feral goblin who loves eating rats, which is a whole other can of worms, but with this characterization I feel like some fun and interesting parts of his character are neglected, such as: The fact that Mono is an ominous little weirdo. His attempt at trying to save and comfort someone is to hack down her door with an ax with no warning, then proceed to chase her through the house she’s been trapped in; Mono is not too familiar with human interaction. Mono isn’t really a dashing hero who tries to save every kid he comes across either. In the comics, Mono finds an area that is away from the monster killing all the kids, but it’s not like he tells the other kids or tries to bring them with him or anything. I don’t think that this means he is a toxic manipulative character or anything because he is. 9 or 10 years old. I think if anything, this is a trait that experienced characters in The Nowhere have: RCG and Mono both know that indifference is the way to survive in The Nowhere, good deeds usually get you killed. It’s the way things are. I think overall Mono is a well meaning boy who just talks and acts ominously, because that’s what he is used to; he’s an eldritch overpowered being who lives in hell if it had a 1940s aesthetic.

I think that Mono doesn’t start the game a sweet perfect little boy whose ending is sad because he gets betrayed, that’s not a character arc. I think Mono starts off relatively morally gray out of necessity, mostly helping Six out because it was kinda his fault she got captured. He develops into someone who is willing to fight his fate, fight the Nowhere and stop resorting to the escapism his mask provides, only to get crushed to rock bottom in spite of his growth. After all, the villain of Little Nightmares is The Nowhere itself.

How this creates character conflict in the plot

Anytime Mono goes into a weird TV trance, Six is horrified. Her body language tenses and she moves away from him. Six has seen first hand that even the kids like her in The Nowhere cannot always be trusted or relied on (RCG shutting the door on her). Some kids like the Pretender aren't even normal kids, they have powers they use to kill people. The one person Six is starting to trust, and he’s showing signs of possessing supernatural powers? Terrifying. Mono notices these reactions, they give him more cause to hide what he truly is from her. Residents scare and disgust Six, he doesn’t want to lose the only person he has.

This conflict leads me to another point; you know those moments of Six being sadistic and angry towards Residents? How an ominous music cue plays when she kills the bully and breaks the mannequin’s fingers? Earlier in the game, when Six first catches Mono, his part of Togetherness II plays briefly to show his feelings in that moment, which implies that the music cues we hear when a story beat happens are Mono’s reactions. I don’t think these scary music cues are because Mono is scared of Six being creepy, Mono himself likes to beat up Residents. I think that Mono is scared in these moments when he sees the extent of Six’s hatred towards Residents, because even though he doesn’t like them either… Imagine how she’d react if she knew about him.

It is only the Thin Man fight when Mono is finally pushed to the point of using his powers, because in the plan to get Mono to the Signal Tower: The Thin Man took Six as bait. Six was constantly pulling Mono out of his TV trances, Six was supposed to die back at The Nest, Six has been a problem for the Eye since the start and now it’s time to kill two birds with one stone, to sentence Six to her new fate and to crush Mono’s spirit so hard that he finally resigns to his.

The drop is its whole own debate, but whatever you think about it, I think at least one factor in Six’s decision is that from her perspective: Mono has revealed himself to be an entity she cannot trust, he didn't tell her either; he's been hiding it this entire time. Why didn’t he use this power to help them all the previous times they were in danger? What are his motives? What IS he? This, mixed with other factors, causes the drop. (a lot of manipulation on the part of The Nowhere is involved too imo but this isn't a Drop analysis)

Mono is crushed, he loses Six and any true feeling of empowerment that he had before. Rather than The Eye trapping him in the Signal Tower and forcibly transforming him into a resident, I think Mono actually accepts his fate because hes just. That depressed. He actually ages pretty normally for most of the sequence (except for being straight up like 12 feet tall, the podcast confirmed that Residents are just super super big as opposed to the kids being really small, bros got Resident genes) This sequence from the art book leads me to think that Mono knows what the hat entails, Mono chooses to run the Signal Tower like The Lady runs The Maw. The chair sequence is not actually him sitting in a chair for that long, I think it just represents his resignation more than anything.

BUT! Mono is an “uncommonly single minded boy,” who also has control over time, i.e. Mono Thin Man slowing down time in his chase just to fuck with you or the clock sounds in The End of The Hall. Whether you think he goes back for revenge or to stop the downfall of everything, he goes back in time. I think it's on purpose, I think every TV in the background of the first scene implies that Mono has gone back to this point in time over and over again, failing repeatedly, leaving a new TV behind and forgetting the past attempt each time.

This could all be wrong, maybe Mono is just a really badass 4th grader from the human realm who got his abilities like Six, just off screen. But one thing I love about LN is all of the different, creative and interesting interpretations of the fans. So here’s mine regarding Mono lore. Sorry this was so long and I write posts weirdly it is 4 AM. I hope you enjoyed

#little nightmares #little nightmares 2 #mono ln #six ln #little nightmares theory #i meant it when i said i could talk forever abt this franchise. the floodgates were unleashed #sorry i don’t usually post theories so i know this isn’t like #super polished game theory levels of organized at all #but little ominous eldritch being mono means a lot to me #some of the achievement names are in first person and it’s so funny like he words shit like dracula #the achievement for holding hands with six for six minutes is #in the palm of my hand #what an ominous way to refer to hand holding #love u lil weirdo

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wolfram-but-art · 10 months

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Just recently saw your human Archimedes fellow and he’s such a goofy goober I love it. Do you think the mercs ever taught him any of the dance taunts / he picked up and mannerisms from the mercs?

Can’t be associated with the mercs if you can’t do the kazotsky kick.

rraahahhhH!!!!!! thank you!!! Archie is very much a goober fgysgfe and they most likely would!! at least it seems logical he's learn/see them at one point or another and he definetly picked up the merc's mannerisms (they're mostly verbal mannerisms, such as words in other languages/ sayings (Spy's French cursing, Dell's "darns!" and "dag nubbits!" and even Medic's nervous "aheh"s) he's deffinetly picked up some of Sniper's knife skills and accents from all around the base, seriously he can be talking and you would not be able to tell which accent is the primary one, each word is accented diffferently (Dialectologists hate him!!! see how!!!) he probably (once he's more grown up) also picks up a lot of self soothing behaviours on hs own like playing with his hair (slicking it back, twirling it ect.) or his fethers

anyways here are a few taunts that i liked (including the new Medic one (with his new cosmetic aswell)) no kazotsky kick tho, i found it's too hard for me to draw, sorry

#and yes i know spy's head is too small but i'm draing in whiteboard fox and i cant actually change the size to sorry #we'll just have to ignore it ig #also fun fact someone sent me a hate (anon(coward)) ask regarding the speeding meth ship today #at least i think it was #the ask said something along the lines of “they should be called speed because they're retarded” (their words)#and it was quite strange because i don't know what they meant by that but im assuming it was hatemail #like you know you can filter out the tag if you don't like it you know fysegfyse #i deleted the ask right after reading it but i find it quite funny now #anyways if you're that person reading this. send me another ask coward.#don't hide behind the safety of anonimity. hate me like a man. show your face #anyways #tf2 #tf2 fanart #wolfart asks #human!archimedes #tf2 oc #engineer tf2 #spy tf2 #medic tf2 #doodle dump #tf2 soldier #tf2 headcannons #also i know i souldn't entertain the haters but i think it's too funny to take it seriously #PLEASE send me hate mail. i *will* laugh at you /hj #also i tried diversifying his cloting a little bit and i think it turned out pretty okay #ALSO ALSO LOOK AT ENGIS LEGS OH MY GOD I FINALLY FIGURED OUT FOR TO DRAW SPREAD OUT LEGS HOLY GOD #i haven't drawn i a cuple days god it feels great to draw something again #also i really like Archie's shorts. they're cute :3 #sorry for long tags btw. i don't really do text posts

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deityofhearts · 4 months

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you accidentally say picture boy instead of poster child ONE TIME and people never let you live it down

#deity dialogue #I forgot the word and was like ‘you know when there’s a person and you’d say they’re the picture boy of that thing?’ and I kept having to #describe what I meant #the context was I was trying to say that kronk is the poster child of being a himbo #but I said kronk is the picture boy

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ruins-mourner · 2 years

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Currently crying over the melancholy beauty that of all of our languages spoken now, not a single one existed when our deepest ancestors started painting in caves, telling stories to their kith and kin, sculpting statues, and learning to cook and farm

Not a single one of them could speak with us if they were here now, and vice versa, yet everything they worked for and lived for still lives on and stands within each and every one of us

And still, some echo of the words they spoke to one another, the words cried out to their gods and the universe and their own ancestors, is alive in every language we speak today, and so many lost to time

When I think about the essence of humanity, it is this, in the purest form of who we were, who we are, and who we yet can be

#Idk I’m just thinking of making rice and debating about whether or not to go bed #and just godsdamnit what I would give to know them and their words #we’ll never know what they said but what they meant is who we are today #I’m crying in the club y’all #what my url means #why I chose anthropology #anthropology #archaeology #paleolithic #neolithic #mesolithic

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grim-echoes · 2 months

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Any thoughts on what's up with the Accelerated Dynamics nightmare dungeon? The obvious surface is about corporate greed, but how does that relate directly to Jimmy's life like the other nightmare dungeons do?

i've been slacking on the analysis posts a hell of a lot but this is one of the dungeons i've been looking for an opportunity to talk about because it's another one of those inclusions in jatpm that i think gets overlooked because it doesn't have an immediately obvious interpretation like some others do (or, as obvious as is possible for your average jimmy fan). i've done a lot of thinking about it, and a while back had this realization (slight tw for very very brief suicide mention, also obvious spoilers ahead):

kasey definitely put a lot of his own personal grievances with capitalism into accelerated dynamics, but in my opinion it's an incomplete picture without taking megatropolis as a whole into consideration. terminal illness is extremely costly to treat and particularly in the US, it's (in my experience) much more terrifying to imagine being unable to afford the cost of healthcare than it is to actually fall ill and require treatment. even with insurance covering the cost of medical supplies and bills most people continue to struggle to feed, clothe, and house themselves, and that's assuming they do have health insurance that covers the right necessities to begin with.

i say this because i doubt jimmy's cancer treatment was at all affordable given that he's already been through chemotherapy once before, and has spent the entirety of his second battle comatose while his family continues to work not just to support themselves, but to try and save his life. this isn't to argue that money troubles were absolutely a factor in his family's life because of his illness because we don't know much at all about their financial situation--more that this is a terrifying reality for many, many families fighting illnesses, and megatropolis is representative of something that jimmy and his family don't have the luxury of anymore: leisure.

accelerated dynamics is set in a sprawling city landmarked by arcades, shopping malls, theaters, toy company headquarters, and a massive school campus, all adjacent to a high-class beach resort. it's a stark contrast in atmosphere that was likely very intentional--accelerated dynamics is devoid of personality and wonder in comparison to bonita vista or even shinryu and features workplace ambience as its area theme and visuals of skeletal employees hanged outside the office windows. i think a lot of people were incredibly disappointed in mr grouse as a character to see that his humble beginnings had led him to this point, but i think the commentary runs a lot deeper and touches on this incredibly grave aspect of illness and thus jimmy's personal life that can be easy to miss for the trees; mr grouse tells jimmy before the fight that he used to dream of his banking business growing bigger and bigger and that now, with the advent of it having grown so big that it's now expanded into an entire enterprise, he understands the power and influence that money can buy him, but more than anything he now conceptualizes how terrifying it is to lose that wealth.

his dialogue after the fight is an admission that wealth completely and utterly eroded his morals and that jimmy should enjoy his innocence while he can--this is the incomprehensible, horrifying world of adulthood that he couldn't possibly understand at this age--and it's very clear that this is (one of) the intended angle(s) of this dungeon's theme where jimmy will never live long enough to understand the complications of growing older and losing his innocence to concepts like late stage capitalism, but mr grouse phrases his dialogue like an earnest request for reflection, something for jimmy to consider in a way that his brain can more easily deconstruct--think of all the things you could do if you had practically infinite wealth, and the only thing you had to worry about was not having money.

if jimmy and his family had infinite wealth, then maybe they'd be able to afford luxury resorts and theme parks and theaters and shopping trips again. if jimmy and his family had infinite wealth, maybe they wouldn't need to work themselves into an early grave over their child's deathbed.

#i don't know if i worded this the greatest because it's still a struggle for me to write for extended periods #but i articulated as best i could about my thoughts re: capitalism and wealth for this dungeon #like i said the obvious angle here is jimmy being unable to understand the inner workings of adults #and the ways in which they learn to exploit eachother in some bizarre performance of normalcy #but this is an angle i don't ever see anybody exploring #and i think personally that there's a lot of merit to it #from a thematic standpoint at least #if you asked kasey what it meant i think he'd just reiterate the anti-capitalist commentary because that was his primary motivator #jimmy and the pulsating mass #jimmy and the pulsating mass spoilers #jatpm #jatpm spoilers

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