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sugars-fluffy-escapes · 2 years

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Ler!Eddie Munson Headcanons

Eddie Munson x Reader

Strictly SFW; fluffy, playful, and plenty of romantic + platonic sweetness all around, very self indulgent

Note: I. Have. Never. Ever. fallen in love with a character as fast as I fell in love with Eddie Munson. (First, this jerk <3 steals my heart platonically, and then BAM- steals my heart again and this time I want to kiss him-) Some of these hcs might diverge from the canon storyline, so do with that what you will <3 Major thanks to my tumblr moots for inspiring me and helping make these hcs happen. This is probably gonna be a long post 🥴 I have no regrets~

*Spoilers for Stranger Things 4 Volume 1 under the cut!*

Where... do I even begin... AHSJDJEJD- I suppose I'll start with this:

Eddie "The Ler" Munson. 🫢 EDDIE. "THE LER." MUNSON.

Eddie Munson is 100% a ler-leaning switch (unless he's around Steve 🫢 where he becomes the biggest lee a good 95% of their interactions). Yup. Absolutely a ler-leaning switch. I'd say that a good 80% of the time, he's the one tickling someone else to pieces.

This was a given- I mean, do you see how much he LOVES making people laugh??? (His whole cafeteria monologue had the Hellfire club giggling, the entire scene with Chrissy, his adorable little "still super jealous as hell by the way" moment with Steve 🥹)

So, if you happen to not only be ticklish, but you like being tickled... Eddie is going to have a field day, lemme tell you. He's familiar with the t-word quirk, he has the t-word quirk.

Either he knew he liked tickles long before he found out you like being tickled, or finding out that you like them was what made him realize it brought him as much joy as it brought you, which is a really cute concept and I can't get over it.

Eddie Munson is the scariest (<3) ler in the history of lers, and I will proudly die on that hill.

I say scariest, but Eddie would never ever want you to truly feel scared of him. He's an absolute sweetheart. An angel. A honeybun. However, he is playfully evil and a mischievous little shit (/p).

He never, EVER crosses your boundaries. He always asks for your consent before every affectionate gesture (hand holding, snuggles, platonic forehead or hand kisses or all those previous gestures in a romantic sense plus kisses on the lips if you're dating, and so on) and affectionate playful tickling is no different. Eddie Munson is strict af about consent.

What makes him scary is how invested he gets in the whole ler persona (You saw his theatrics in the cafeteria AND during the D&D scene? 💀 Yeah- I rest my case), his deadly good tickling skills, and the fact that he's very blunt about wanting to tickle you. It also doesn't help that he's absolutely FERAL.

For as often as he says so with a grin on his face or giggles leaving his lips, he will also say so very nonchalantly in the same manner he'd casually answer someone's question about what he had for breakfast- (🏃🏽‍♀️🏃🏽‍♀️🏃🏽‍♀️). However, Eddie will also say it in the most serious. tone. of voice.

"Eddie... What's with that look on your face? Why are you looking at me like that?"

"Because, I want to tickle you."

*cue you just about short circuiting because this man is bold bold as a ler*

He's definitely. completely. unafraid to be the most secondhand-embarrassing with his tickling theatrics. Like, it's bad enough being flustered because of him, but then he pairs it with the WORST secondhand embarrassment and it's deadly.

He makes the concept of "cringe" his bitch. Silly voices, ridiculous faces (The demon face he made at Jason ahsjsjdhf), the friggin finger wiggling that he's scarily skilled at since he plays guitar (bastard <3 /lh), doing a thing where he talks suuuper quietly and suddenly loudly evil cackles and you scream because he's jumpscared you AND is now tickling you at the same time.

Eddie is going to make up SEVERAL characters and use different voices as he sends you on the tickling version of the Hero's Journey. You know the whole "tickle monster" bit? Eddie Munson has created many, many versions of that bit.

Just to jump back to the demon face and devil horns thing he did. He will stand still and look at you with that exact same blank stare before suddenly pulling that face but instead of making devil horns, his fingers are wiggling and immediately after that he's chasing you. 🫢🫢🫢

He LIVES to fluster you or catch you off guard, so fully expect him to subtly, or maybe not subtly at all, teasingly wiggle his fingers in the air while he looks you dead in the eye.

Circling back to the whole "Eddie Munson has no issue vocally stating he wants to tickle you" thing, he also has a few looks he gives you that blatantly say:

"I am going to tickle the hell out of you at some point today and I'll leave it to you to decide when that's going to happen."

The smirk: An absolute classic, this one. If Eddie smirks at you, ha ha... you're in adorably ticklish danger.

The glare or the squint: Almost exclusively reserved for when you "piss him off." Sass him (especially during the Hellfire Club D&D campaigns) and see what happens.

The cheeky smile: A.K.A. Eddie can't stop admiring you and opts for tickling you because he lovesyour laugh and your smile and just wanted you to giggle. 👉🏾👈🏾

The puppy eyes: More so the "I can see you're feeling down and I really wanna make you feel better, please let me make you laugh for a little bit" kind of look. Like I said, Eddie is an absolute sweetheart and it hurts him to see you sad or upset in any way.

This absolute ass <3, sneaks tickling into the D&D campaign as often as possible. Whether it's the finger wiggle, giving you "the looks," saying the word out loud a few times in different context to make you squirm, describing something happening to your D&D character in a way that he KNOWS your brain will associate with being tickled (and he'll do the finger wiggle while he says it because he's an ass /lh /p)...

...or... if he's decided he's going to be very blatantly bold, your character actually encounters a tickle monster. AND... if he feels EXTRA bold, he's going to get up from his chair and tickle you if you don't roll enough hit points.

"Unfortunately, you did not roll high enough to make your attack~ The monster corners you, its hands lift, fingers wiggling... and it ATTACKS! With the most unbearable tickling you've ever endured in your time as a hero~"

He says it's for "immersion" but he knows what he's doing. Asshole <3

His favorite characters to act out are fantasy genre-related ones (of course they are! He's a D&D dungeon master) like an "evil overlord of tickling" who replenishes his mana from the sounds of your laughter.

He has custom dice with tickle spots on them, and dice with numbers for how many minutes he'll spend tickling that spot. T-word dice... HE HAS T-WORD DICE. And he makes YOU roll them-

"Y-You can't make 'me rolling a nat 20' the only way to get out of this!!!"

"Best hope luck is on your side, Y/N~"

*You do not roll the 20. OR. if you do, he cheats and turns it to a lower number. You're getting tickled either way*

You don't know this yet, but he has a BACKUP. SET. just in case you try to hide the dice from him. Good luck to you when you try hiding the dice and find out about the other set.

He will absolutely call you by your D&D character's name when he's tickling you during or after the Hellfire Club meetings.

I like to hc that there's a random beanbag chair off to the side somewhere in the room y'all hold the club meetings in. He's 100% going to drag you over to it at some point and place you on it before tickling you to pieces. It's the tickle chair- HE NAMED IT THAT.

Eddie Munson is not above chasing you down the hallway and out into the parking lot as soon as y'all are done with the club for the night.

"There is nooo shame, in running~" AHSJSKDJDJJEJE- PFFFHEEEEEE

This jerk knows every type of teasing in the nonexistent "ler manual."

I do mean EVERY TYPE.

Whether he uses them or not is entirely dependent on what you're comfortable with and your boundaries.

He LOVES using cutesy talk, but he will have zero complaints if you don't like it. If you don't like something, he won't do it, and that's final.

If you do like cutesy talk, Eddie is gonna be absolutely merciless with it-

His standard cutesy talk is this quieter, soft and sweet tone of voice and he's almost always smirking or grinning (unless he's been provoked into angry ler mode- I will elaborate on that in a bit 🫢)

"Why are you so giggly~? Huh~? You gonna tell me~?"

He is not above nuzzling your nose as he teasingly asks you why you're giggling like he doesn't know the damn answer.

If you're a person who's comfortable with full on babytalk/puppytalk kind of teases, it's your lucky day, because Eddie is also scarily good at those and manages to do so without sounding patronizing or like he's trying to be infantilizing.

If you don't like the babytalk/puppytalk, don't worry! Eddie understands 💙. (When I say that Eddie Munson has raised the bar from hell for me-)

He will however go so over the top with that kind of tease as a playful joke that makes you laugh because he sounds like a fucking idiot. He makes himself laugh with it several times because he cannot fucking take himself seriously.

Expect to hear him also jokingly use the most obvious teases that are most commonly associated with tickling. Like the classic "kitchy kitchy coo" type of teasing. He has a favorite one, though.👉🏾👈🏾 (I am too flustered to even type it out because it gives me the worst butterflies ever- so I have to copy paste it AGSHSHEJ)

"Goochie goochie goo~" Eddie LOVES annoying you with that one. (That fuckin phrase is my recently-discovered t-word KRYPTONITE- istg, it never flustered me before but then, the concept, of Eddie, teasingly singing that??? ⚰️ /lh)

He's an irritating little shit and it's cute. Eddie will annoy you with those joke teases and when you tell him off, well- further incentive to tickle you more. And he will justify it out loud to you.

"Maybe it wasn't the greatest idea to tell me to 'shut my pie-hole~'

If those joke teases happen to ACTUALLY fluster you (me with that tease I had to copy x paste) and you don't mind hearing them, and EDDIE FINDS OUT YOU LIKE THE TEASES??? Prepare for the worst butterflies of your entire life while your face and ears get warmer than freshly baked muffins. Eddie, from that moment onward, takes those teases verrrrry seriously. 😈

This little fucker <3 will teasingly sing the word "tickle" over and over until you can't even look at him. And then he'll act like he doesn't know why you can't stop hiding your face.

If you love the banter-filled teases with playful insults, Eddie's so down for that. We've seen his banter. ("This is Hellfire Club. Not Babysitting Club.")

"Still think I'm all talk, you giggly little shit!??? Eddie 'all talk and no tickles' Munson, is very clearly tickling you! You knowww~ maybe I should start calling you Y/N 'no talk and all tickles' L/N, because I'm going to tickle you speechless."

He is not above calling you insult names affectionately if that's something you like and will insult him back. Butthead, dipshit, dumbass, numb nuts, jerk, shithead, etc. You two could affectionately banter back and forth all day if that's your love language. 🥹

Sweet nicknames are an Eddie Munson specialty too. If you don't mind being given a cutesy nickname, he'll call you a bunch. Lovebug, honeybun, giggles, cute stuff, sugar berry (this one is self indulgence to the maximum degree. Guilty. Oops 🥴🫢), sweetie.

You are the only person that Eddie calls "sweetheart." He deadass adores you as much as he adores his electric guitar, and that is A LOT of adoration and love right there. Whether you two are just best friends, or if you two are romantically together. That nickname is very high honor.

One of Eddie's favorite things to do is purposely "zone out" mid conversation, and you try to get his attention, only for his slow-wiggling fingers to suddenly come into your line of vision...

...and he will keep a deadpan expression on his face, as he keeps moving his hand closer and you eventually end up a squeaking flustered heap on the floor after your attempts to get away...

...then you've just tucked your arms by your sides and shriek when he kneels beside you and hovers his wiggling fingers closer again. His suppressed smile finally breaks onto his face because he's so. entertained. over how you're not even being tickled yet but you're THAT squirmy over what he's doing.

"Why are you so giggly and nervous~?"

"B-Behehecahahause *hic* youhou're gonna... youhouhou're gohohonna..."

"Tickle you? Hm? Yeah, I am~ But you're gonna decide when I actually start~"

He loves being all soft and sweet-sounding with his voice in these moments.

"Why are you so giggly~? What's so funny~?"

"You're not gonna tell me what's making you laugh so much~? Do I have to tickle it out of you~?"

As mischievous and annoying but very adorable and sweet as he is, if you DO piss him off enough, I hope you're prepared for angry ler!Eddie. 🫢

He will whip his head around to look at you, and either glare, or smile, before he starts moving toward you as he tells you that you are in for the tickling of your life.

This is the point where you should run. It's not like he won't catch you though. If you don't run, he'll encourage you to, just because he likes the chase and it's adorable how you react when he catches you.

Eddie's teasing amplifies by a full 100. He is going to use EVERY tease that he knows flusters you and he will repeat them relentlessly.

You know the whole "mock sympathy" thing? Yeah. Eddie Munson is really good at the mock sympathy.

"Awwwww, I know it tickles like hell. That was the goal."

"Switch spots? Is it too bad~?"

*cue you nodding, only for Eddie to move one hand to another weak spot so he's tickling two at the same time and you're thrown back into laughter*

The man is ruthless AGSHDHDJR- To make it worse, he doesn't even act silly or laugh along. His face. Is so. Serious. Or there's the tiniest smirk on his face.

Oh my God- there are so many more hcs I have for angry ler!Eddie but I am flustered enough as it is. (Don't worry, I'm not done with angry ler!Eddie you'll see the concept explored in fics- AGSJDJRKE) So, let's talk about Eddie post-tickling you to tears.

Every time, after Eddie's tickled you, he holds up his hands with a giggle and assures you he's done. Eddie's an attentive guy, and he'll stop whenever you want him to. First thing he does after that is grab you water.

He asks if he can give you a hug or hold your hand or snuggle. Whatever form of affection you allow, Eddie is so sweet about it. What he says also depends on whether he was in a soft mood, mischievous mood, or a full on "you are done for" mood.

Eddie will dote on you all damn day after that if you let him. I'm not even kidding.

Wanna watch a movie? You get to pick it. And if it turns out to be boring the two of you, he'll talk over the movie with his own lines and character voices or roast the characters in the film just to make you laugh.

Hungry? He'll grab whatever snack you like. You just want to hold his hand and snuggle? Okee dokee. Hell, he'll even play songs on his guitar for you (yes. Eddie Munson will play your favorites 🥹).

No matter how you spend the rest of your time together, you can count on Eddie Munson to be the sweetest friend (or boyfriend) ever. Be on the lookout though 👀 because you might soon once again see Eddie Munson's slowly wiggling fingers out of the corner of your eye~

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I'm so effing flustered from writing this oh my sweet Jesus H. CHRIST- AHSJDJKDFM /lh

I hope these hcs were worth the wait 🥺 The in progress fics I was working on before I got sick are still on their way, but I think I need to let myself get back into the writing groove and let my brain write for the most currently active hyperfixation. There'll probably be a whole wave of Eddie content on the blog. Get ready for the ler!Eddie Munson renaissance ✨ /p

~ Ushu 💕

#ler!eddie munson #lee!reader #ticklish!reader #eddie munson fluff #sfw tickle headcanons #sfw tickles

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watanabes-cum-dump · 2 years

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Tower Of Fantasy: Genshin Killer/Copy?

Tower of Fantasy will get it’s official global release on August 10, and everyone’s pretty exited to see how it will hold up against Genshin Impact. It’s the main thing it’s been compared to and hopes to embody. It is definitely it’s own thing, but just like how Genshin pulled from Breath of the Wild, Tower of Fantasy draws a LOT from Genshin and BOTW.

I beta tested this game during it’s first global beta, and not everything I say will hold up in the official game.

So first, yes, Tower of Fantasy is an MMO. Guilds and all. There is pvp, there are rankings. I’m personally not a big fan of MMOs (my first exposure to them was Dragon Raja which was kind of bad so go figure) but since I really love open worlds and I beta tested for this, I may as well see what it’s all about officially.

Which, by the way, is about the same as Genshin. The pity is 80 instead of 90, but it’s still pretty brutal. You won’t accumulate premium currency very fast, and you can’t select which SSR to target. PVP isn’t a very relevant aspect of ToF, it seems like it’s more just for fun and rankings so the whole SSR thing isn’t that bad. But if you do plan to take PVP very seriously SSRs and Echo who is literally the only good SR is your best bet.

The weapons themselves come with characters. You can swap in between weapons, but not in between characters. The character will be a sort of skin. It’s a cool concept really, if only the characters were actually interesting as character lmao but we’ll get to that later.

Oh but I should mention that there is a system that allows you to get free SSR weapons via grinding. It wasn’t in the first beta but it’s in the CN official release and the second beta but I don’t know a lot about it.

As for how the characters are, they’re really fun. The movement and combat is pretty good, you can string in mid air combos and plunges and depending on your movement you moves will be varied. Yes, you get double jumps and it is the best thing ever. You can infinitely climb with it so it’s a nice benefit. The characters themselves don’t exactly have the same depth as Genshin’s. But combat wise they’re all very diverse and offer different experiences.

I think the one thing that will be a deal breaker for all the Genshin Players who want to play Tower of Fantasy is that the story isn’t exactly the best. It’s quite convoluted and there’s so real focus or development on most of the playable characters, who, yes, some have their own side quests but most of them aren’t relevant to the main story at all. Barring Zeke and Shirley whom you meet in the beginning, there are no reoccurring characters. There aren’t really events where the characters can shine either, since looking at the update the CN version had a while back, Shirley is the only one who follows MC to the new area where the next part of the story takes place.

It is an MMO so the story is more from your perspective, but even that isn’t exactly done very well. MC is very dry and sort of becomes everyone’s handy man, they don’t really have a motivation aside from “stop the bad guys.” But the story tends to stray from MC a lot, the entire first section of the game surrounds Zeke and Shirley, leaving MC as a mere catalyst for their story. Zeke and Shirely themselves are... eh. The game wants you to care about them but you don’t spend a whole lot of time with them. Probably the only thing driving their story forward is their bond as siblings.

Which speaking of I think MC has a sibling? Like they were with someone in the opening cutscene before everything went to shit but it’s never really brought up. So uh, Genshin’s story is better, it’s not a masterpiece and it isn’t perfect, but at least they establish their character so uh, yeah.

The story is okay, it’s nothing special (as of now) and it doesn’t give you that sweet sweet character stuff that will incentivize you to pull for the characters. Like at most the incentive is “they’re hot/cute and meta plz pull for them” Seriously no one gets any characterization (in the current story idk abt the update CN got) which is a problem for a gacha game. It’s not abysmal like say Dragon Raja, it’s at least coherent and establishes the world quite well, but it does suffer from it’s lack of interesting characters which is sort of the biggest factor of a story, so....

The world is very interesting, it’s a sort of sci fi post apocalyptic meets Breath of the Wild with a very small population. The sort of power/magic system is a bit vague but hey, at least you get some kind of exposition. The lore has a lot of potential especially given the many different factions and it translates pretty well into gameplay. A lot of the game’s systems can be explained by the lore and there’s a little bit of shady cult like organization stuff going on with the enemies in the form of the Heirs of Aida. I think the story has gotten better with the new update but only when it comes to global can we truly tell.

The progression is a little rough, I don’t know what the level cap is and it’s just your standard grinding. You can do some dungeons for extra EXP but it’s super repetitive and boring.

I’m assuming this is like an MMO thing, but there are quite a few systems you need to manage. Off the top of my head you have your suppressor, leveling your weapons, equipment (like the convoluted substats equipment), your “artifacts” I forgot what they’re called but they’re only obtainable through gacha and are character/weapon specific. On the bright side you can buy them and there’s no RNG involved in the stats. but it’s just something to look out for.

Cosmetics are by far this game’s biggest strength. The outfits are all really nice, character customization is top fuckin notch, and the obtainable characters are all very pretty and you can unlock alternate skins of them if you get enough dupes. (only for SSRs tho)

Oh and quickly, there are mounts. I don’t think the speed is that different in between them, but you get a motorcycle at base and you can unlock some others including a really cool robot unicorn. As far as customization of these vehicles go, I think it’s just colors.

The open world is much like Genshin’s, so there are puzzles and collectibles everywhere and you can obtain premium currency and some skins among other rewards via exploration. For the most part it’s seamless from place to place, but there is one Area, Hykros, that you have to teleport to. I don’t know about the new area in the CN update, I believe it’s an extension of the overworld save for the main city.

It’s all very well designed, there are interesting land marks and you options of traversal are quite varied. You can climb, glide, I believe you can get grappling hooks later on, and you can cruise around on your mount. You can even surf and the double jump comes in clutch for exploration because as previously stated, it can be abused to infinitely climb. One of the most fun things to do is surf off massive waterfalls and cliffs into water, you can jump on the surfboard which is the coloest thing and it’s your alternative to swimming since you will need to navigate large bodies of water.

Overall, it’s definitely something to check out especially if you like a good MMO. For people who want to check it out because of Genshin, it’s quite similar but Genshin pulls ahead when looking at ToF’s current content. I can’t speak for the endgame, but it’s definitely fun. It’s not an award winning masterpiece, but it’s good enough.

#genshin impact #tower of fantasy #genshin

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rainofaugustsith · 1 year

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Now that I've finally leveled all the mage jobs I was doing to 70, I was able to pick up Sage and Scholar, and I'm turning to another job class even as I keep marching these toward 80 for the Amaro achievement. Next up is archer/bard followed by machinist once bard is to the level where they can share gear.

Feelings on the mage jobs, overall: I love these so much I consider them part of Viri's core group of jobs

Red Mage: Still my pick for the best all-around magical job. You have an entire host of melee sword skills when waiting to cast is ill advised, and you have constant use of Dualcast and other abilities to cut down on casting times considerably. Even with all that you get the standard mage resurrect and a heal ability so you can heal yourself in a pinch or help a friend who has gone down. The story is pretty interesting and I love the costumes you get from this job. I also really like the NPCs you get to work with.

Summoner: A job that is interesting, easy to figure out and formidable. While Black Mage is struggling with marks 20 levels below their level, Summoner was able to walk into Shadowbringers FATES at level 69 and hold their own. I love the concept of summoning the egi, that you aren't summoning an actual spirit but a type of simulation from their energy. I weave this job into my lore/head canon for Viri's Reaper job. She's not a Garlean and can use magic and manipulate aether so she has no need to use voidsent. So when she reaps, she's summoning the egi. As for the story, interesting tie-in with the Warring Triad information, and it's always nice to meet one of Y'shtola's siblings. However I still hate the book weapon.

Astrologian: My favorite healing job and that has not changed. I really like how the story shows the discipline of this magic changing with location/culture - it's used totally differently in Ishgard vs. Sharlayan vs. Kugane. That's really interesting to me, that the magical discpline changed according to need. And I really love drawing the cards and being able to buff other players pretty constantly.

After leveling, I would only play these to get achievements/see the story/under duress

Black Mage: I've written before about how much I detest Black Mage and that dislike still stands. It's slow, it's clunky, you have to plant your character in one place and casting takes the better part of a century. For all that is claimed about it having the best mage DPS, Black Mage at 70 still struggles to get through Heavensward and Stormblood hunt marks - where Summoner, wearing the exact same gear, can annihilate NPCs levels higher than them. Shit, my White Mage doesn't struggle as much and that's saying something.

Ironically, Black Mage has the most intriguing story series of all the mages, I think. And certainly the most significant since you avert an actual Calamity. I also liked the history of black magic, and the fact that the black mages you meet are largely from the tribal communities, working united. They also provide a very satisfying counterpoint to the Star Wars THIS SIDE GOOD! THIS SIDE BAD!! absolutism about light and dark sides. It's pointed out in many ways that you need the balance of both and that no magic discipline is evil; it's what is done with it. It even makes those Jedi-style judgmental types look like fools.

Also after doing the 30-70 level missions for Black Mage I am completely convinced Lalai and Lamitt are reflections of each other. There's just too much in common and too many parallels for it to be coincidence.

Scholar: the story missions for this job are giving me so much lore and so many things to think about. If you are interested in Nym and Andapor, you'll want to play this. The NPCs you work with are really likeable, too.

The beauty of this job is that you don't actually have to level it up, it tags along with Summoner. So whatever level your Summoner is will mirror with Scholar. Having said that you do have to play the Scholar's duties and story missions to progress those and unlock some skills. Several of the duties are absolute beasts. But you'll get to visit some really interesting environments, and in light of Shadowbringers, the final boss in the level 70 story mission made me raise my eyebrows a bit.

In terms of gameplay, I love the avatar that comes with you (and again, it raises questions - certain NPCs in Shadowbringers might react to them!), and Art of War is damned amazing as an AOE. I hate that so many healing skills required filling a gauge and remembering combinations. It also seems to eat a ton of MP, far more than the other healer jobs. And again you're out there wielding a book as a weapon.

White Mage: For the most part it's just kind of bland and boring. It's easy to figure out, and it's reliable in dungeons with duty support and I guess that is what counts. I didn't get into the story until the end of the 50-60 arc when issues with NPCs in the rest of the storyline were finally called out. I do like that at level 72 you finally get to stop throwing rocks at people.

Sage: I'm still having a hard time getting my head around Sage. Like Scholar, a lot relies on filling gauges and combinations to access skills. I really don't like that. When you're healing you need to concentrate on what the specific players need in each situation and have the kit available, not sit there remembering combinations to unlock the skills you need in real time. IMHO anyway.

#rain plays ffxiv #I don't think there are other spoilers in here but if there are tell me #ffxiv #ffxiv mages #ffxiv black mage story spoilers

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bogleech · 2 years

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I think the reason we see so much 80′s nostalgia is just because new ideas were valued so much more. New things feel special and the pop culture landscape of the 80′s was absolutely packed with ideas so new it still feels hard for me to fully appreciate, and I was there! Imagine Super Mario being so new people were calling it “INSANE!” and joking that it was “ON DRUGS” because a plumber ran around jumping on turtles. Imagine people being wowed by the idea of both supernatural elements and sci-fi technology in the same franchise: that’s what Ghostbusters normalized and that too was so unusual at one time it was “crazy!!!” to reviewers. Toys that transform between robots and cars??? UNBELIEVABLE. Kids and adults couldn’t believe that a toy could possibly have moving parts that intricate and not cost an entire paycheck.

Imagine a world where even fucking *Garfield* is new. Garfield! Not just new but seen as almost EDGY for his sarcastic personality! People weren’t used to a cartoon cat smugly insulting his owner! That’s why he made a million zillion dollars, because people thought that was the freshest most hilarious shit in Sunday strips at one time!

You know why there’s a billion takes on a zombie apocalypse now? Because, while the concept goes back to the 60′s, the broader public had never considered the doomsday horror potential of a mass zombie outbreak scenario or the “survival fantasy” aspects until 1978′s “Dawn of the Dead.” Gremlins was the first horror-comedy about nasty little creatures running amok. Films like “Child’s Play” and “Nightmare on Elm Street” were some of the first mainstream cases of a wisecracking horror villain. E.T. was the first successful fantasy science fiction drama about child protagonists befriending a benevolent paranormal entity. 1979′s “Alien” on the other hand successfully wrung tense psychological horror from the concept of a “space monster” just when most audiences were dismissing the idea as corny and juvenile. The “Teenage Mutant Ninja Turtles,” though intended as parody characters, were the first mainstream case of anthropomorphic animals marketed as “cool” action heroes instead of completely jokey characters like “Mighty Mouse.” Nobody had ever seen a dark puppet fantasy like Labyrinth before. Nobody had ever seen anything like the Cenobites before. Little Shop of Horrors was adapted to a Broadway musical in 1982 and was such a hit they got the Rick Moranis film into theaters only four years later.

The 80′s feel like the last decade with such a ratio of new, novel concepts and bold decisions that actually took off to just endless remakes, sequels and homages. Shit came out in the 80′s that invented whole subgenres, character archetypes and everyday household concepts everybody just takes as a given now. This sort of slowed down over the course of the 90′s, and then Pokemon was possibly one of the last things that was like mind-blowingly world-changingly “different” in the eyes of the most audiences. Now I have a hard time thinking of any entertainment media from over the last 22 years that made half that big a difference, and even less over the last 10. :(

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aforrestofstuff · 3 years

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Chapter 149 Expert Review Time

Hey gamers what’s up time for another CHAPTER 👏 REVIEW 👏

It was looking kinda bleak last time for pretty much everyone so I’m hoping things improved this time around, but it seems Murata and ONE are kinda going through their “I’m going to put my characters through the MOST” phase so… that feels unlikely. But nevertheless… still excited to see my favorite boys.

The 10000th Psychic Sister cover. Murata, I’m begging you. There’s literally like 30 other characters to choose from. I know you like drawing boobs but imma need you to put the pencil down for a minute and take a walk because this just ain’t IT.

“Summer is coming” it is July. Summer has been here for ten years. I’m so fucking hot all the time. Everything has been evaporated out of me and I’m literally a raisin.

The Psychic Sisters covers are just so devoid of life a lot of the time… I wouldn’t mind if it was them fighting or engaging in everyday activities but when they’re posed for the camera and deliberately placed there to look sexy it just sucks all the human out of them. The cover/splash page is a great chance to show characters in a new light!!! It’s mostly set away from the story so you can do whatever you want! Choosing to make 80 fanservice covers is just wasted opportunity for what could be additional character development. It’s gotten to a point where even the smegma-slinging bitchboys on Reddit are complaining about the excessive sexy covers…. When PussySlayer384756 complains that there’s too much tittage being shown, that’s how you KNOW we’ve got a problem. Now, idk how the fan climate is in Japan but I can’t imagine they’re feeling much different over there either.

Also, her anatomy is… janky. Her tit is bigger than her head, her belly is too long, and she’s got like 4 spare ribs. Like, I’m by no means an art expert but it doesn’t take a chef to know the soup is shit, you know what I mean? I feel like page after page of Murata drawing obscene muscle men has made him rusty on what should be (somewhat) normal-looking people.

Darkshine learns what TRUE peak male performance looks like.

You’ve gotta wonder how Darkshine even got to the S-Class to begin with when he pussies out of nearly every single fight… except the one where the opponent was literal water. Everyone says that he just joined the association for additional validation, and I believe it… this boy is not cut out for actual hero-ing. 99% Of the time HE’S the one who needs a hero.

It kinda bothers me how useless he’s been post-Garou fight, especially when we spent like an entire chapter trying to console his ass. I get that’s part of his character and development… but it’s begun to slow things down. We get it. We don’t need to see him be insecure every time a new enemy pops up. One was enough. We would’ve gotten the same effect if he just sat out the entire time post-consolation, because everything that’s happened to him on the surface has been kinda redundant.

Here comes the boooyyy 🎶🎶

Nice callback. I’m glad Metal Bat is finally here. Bitch runs slow as fuck.

It’s nice to see him act on his own agency instead of orders from the hero association. He’s clearly much happier when helping out on his own accord, and has a ton of initiative too. The chapter he got with just he and King meeting up and slingshotting themselves to the fight was really a breath of fresh air from all of the fighting. It’s moments like these where ONE remembers that people like OPM for the characters, and not necessarily the pretty action sequences. I really like this duo. I like Metal Bat. I like it when they’re given time to be themselves and not just vessels for the next fight scene.

I know I said I wanted the heroes to die but Murata I’m begging you please don’t kill the child. You can kill Puri, though. I hate that fucker.

Child Emperor regularly visiting and eating with Bofoi even despite being his lab assistant would be a lot cuter if Bofoi wasn’t the human equivalent to a dog turd. I might’ve overstated that… seems like Bofoi is just using him as an errand boy. The clear lack of respect he has for CE is very indicative of his character and is not necessarily a bad thing plot-wise, but I would still like to beat him with a cane. Additionally, it’s clear that he’s not going to help the heroes here. At least, I don’t think so. His “fuck them kids” attitude seems to be a pretty big pillar in the building of his character and I doubt ONE would jeopardize that just because he’s written himself into a corner. Oh, well. We’ll see.

It’s very sweet that even when near death, CE still thinks of Zombieman. Aaaaghh it’s so GOOD when the characters actually LIKE each other. I know realistically not everyone is gonna be friends but man… it would be a lot cooler if we got more insight on their chemistry. Pleaz have more Metal Bat-and-King-esque chapters. I wanna see how everyone gets along.

Also, the concept of Puri just manifesting drilling powers and carving through solid rock with nothing else but pure strength and determination is so funny. A little convenient, sure, but I really don’t care because it’s actually done well. Their reunion scene is hilarious. More stuff like this pleaz….

I don’t even know what to say about Genos here. Dude, I know you made an oath to protect Tatsumaki or whatever, but there’s no shame in a good bail. You can’t even bail anymore because your damn legs are gone. See, this is what happens when you make promises. The secret to keeping your legs intact is doing the bare minimum. Hope this helps ❤️

He’s making a valiant effort but… I’m afraid he just ain’t gonna do much while roleplaying as a worm. Maybe he’ll make a chrysalis and come out as a butterfly. Wait, that’s caterpillars. Fuck. TATSUMAKI IS A GONER, BRO. WE NEED YOU TO BE THE DEUTERAGONIST!! IF YOU DIE WE LOSE 70% OF MERCH SALES NOOOOOOOO

Local man has a heart attack in front of thousands of little monsters and somehow saves the world, more at 5.

King I’m begging you please get that shit checked out that’s not NORMAL.

Yeah, I like this conclusion. Very tasteful cliffhanger. I mean we know King ain’t gonna do shit but SOMEHOW black sperm is gonna get punted like the little cumstain he is. Can’t wait to see the events that unfold next chapter… it seems like every scene that involves King turns out to be really funny and I’m super looking forward to black sperm seeing Jesus.

Also, a little off-topic but I just really like the way Murata inked his pants. Got a real comic book feel to it. I mean, he’s just really good at drawing clothes overall (save for Fubuki’s body-tight dress that is 100% not how women’s clothing works but I digress). Fucker understands fabric physics like I understand how to make a bomb ass chicken parm. I respect it.

In conclusion, lower everyone’s expectations of you and you might get to keep your arms and legs. This has been Life Lessons from Forrest. You now owe me 50$.

#one punch man #opm #zombieman #metal bat #child emperor #king #manga spoilers #I mean not really it’s been out for like two weeks now (I think)#Genos #Tatsumaki #puri puri prisoner #meta

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ms-demeanor · 4 years

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Some meandering thoughts about jokes about rape and cultural changes in the last decade and a half

Like, don’t get me wrong, I’m really glad we’re in a place now where we DO question rape jokes and it would be much harder to get away with “raping Jonah Hill is incredibly amusing” as the center of a scene the way that you could in 2007-2013 but I do kind of feel like we don’t talk about how sudden that change was enough.

People talk about how you should have always known that awful things are awful but if you’re surrounded by rape jokes and pedophilia jokes all the time and that’s what’s funny to the other kids around you and the adults in your lives and what makes up the jokes in the movies you watch then it’s hard to act like you always knew it was wrong.

Dead baby jokes were a HUGE thing when I was a teen and in my early twenties and sitting around swapping dead baby jokes was just a thing we did, and tossed in among them were things like:

A joke about incest with the punchline “Get off me pa, you’re crushing my smokes.”

This joke about a pedophile murdering a child.

Let’s not turn this rape into a murder.

And hell, look at the activity graph for “soap on a rope” on urban dictionary:

2014 starts a significant taper.

Letterboxd has their “sexual assault against men played for comedy page” and if you sort by release date there’s a downward trend with 2014 as a really stand-out year for rape jokes about men in popular movies:

2010 - 10

2011 - 12

2012 - 14

2013 - 12

2014 - 18 (jesus, which includes a prison rape joke in “Paddington”)

2015 - 9

2016 - 9

2017 - 11

2018 - 15

2019 - 4

2020 - 1

(this is of course with the caveat that this is only what has been documented so far)

Shock porn sites used to be a thing and they used to be a COMMON thing. A thing that would get remixed and have late night hosts make jokes about them and that got parody music videos.

So on the one hand I was really glad that in 2010 the hacker conference WASN’T asking me to make a rape joke on their tee shirt, but since Pool 2 Girl came up at every single “this is what defcon is about” discussion and some of the guys from the con had printed up “lemonparty.org” stickers to slap up around town it wouldn’t have been *surprising* if they’d been asking for that.

If you were a teenager in 2005 would you have known how much of a dick move goatse-ing people was? We didn’t have the same culture of trigger warnings (not that I disapprove of trigger warnings, they are good and I like them) and there was very much an attitude online at the time of “if you can’t handle it log off.”

I think the fappening was the turning point for a lot of this stuff - I think that was a big cultural moment that changed a lot of people’s attitudes really quickly and I’m seeing echos of that with what Chris Evans is dealing with right now: people are a lot faster to say “oh, that sucks, don’t be an asshole, report people for posting the pics” while I remember sitting and arguing in an imgur thread because there were a bunch of people saying “if you don’t like it don’t take nudes” about the celebrities who got caught in the icloud leak.

People look at Shane Dawson’s (admittedly gross and incredibly inappropriate) behavior with a poster of Willow Smith and act like it’s unprecedented***** but as someone who remembers not only Olsen Eighteenth Birthday countdowns but ALSO the jokes about fucking the Olsen twins that came BEFORE they were legal that’s just bizarre. Seeing people my age and older react to James Gunn’s pedophilic twitter jokes like they’re worse than Jay Leno’s jokes about Michael Jackson (which were made on TV! Across America! On a major network!) is just. It’s bizarre.

I’m glad we are where we are now, I’m glad that making rape jokes in public or jokes about incest or pedophilia (or murder or abortion) is less common and less okay (especially in children’s media, jesus fuck) and more likely to get criticized.

But I’m also pretty sure I’m going to get called a rape apologist by *someone* for saying “2010 was a different time, rape jokes were more common and we didn’t realize how shitty it was” when it really was a different time and rape jokes were more common and most people didn’t realize how shitty it was. I sure didn’t. I do now, and I’m glad I do now. But pretending that we should have ALWAYS known this, pretending that this was NEVER acceptable, pretending that it WASN’T a different time is ignoring the fact that for over a decade there was an entire genre of pedophilic rape jokes (that were frequently also racist) centered around one celebrity and that people told these jokes in public and in pop culture *all the time.*

Does that make it right? Fuck, I don’t know, shit is relative. It was still largely acceptable to electrocute gay kids and people tossed around the word “faggot” pretty freely. Mean Girls is full of jokes about how awful it is for people to think you’re a lesbian and Superbad is full of jokes about getting people shitfaced so they’ll sleep with you (so date rape) and there’s an entire “cute comedy” from the 80s starring Kurt Russel and Goldie Hawn that’s an extended rape-by-fraud joke. I think that as a whole we’re better now as people than we were in 2010 and the 90s and the 80s and the 50s and I don’t think that someone who made a sexist joke in the 80s is irredeemably evil and I don’t think people making rape jokes in the 2010s are rape apologists in 2020 and I wish there was a lot more understanding of both history and nuance in these conversations.

*****to be very, very clear Shane Dawson has been filmed kissing underage fans on the mouth and having explicit sexual conversations with his very young cousin - Dawson has done things that go beyond “inappropriate” and fall clearly into “wrong” “bad” “dangerous” “illegal” etc, which is all the more reason that it’s so strange to see people focusing on him fake masturbating on a poster of Willow Smith. YES doing that was gross but why is it even being compared to the way he’s been filmed interacting with fans? The lack of nuance, making “fake masturbating at a poster” and “creating a sexually abused puppet character” the same as “inappropriately touched and kissed minor fans and engaged a young child in explicit sexual conversations” is NOT GOOD. That is a bad thing. Two of those things are tasteless and two of those things are actively harmful and it’s the actively harmful stuff that we should be focusing on and part of why it’s really weird to see shit like “pizzagate conspiracist accuses James Gunn of making inappropriate jokes” like yes Gunn please don’t but can we maybe refocus and talk about the dude who can be pretty significantly assigned blame for a fucking shooting? https://www.theguardian.com/commentisfree/2018/aug/01/james-gunn-alt-right-marvel-film-director-tweets

Actually, you know what, I thought I was done ranting, I’m not.

It’s purity culture.

YES you should attempt to do less harm with your language, YES you should attempt to not use slurs, YES you should try to avoid making rape jokes. But there’s an entire huge group of people who are willing to drag up rape jokes from a decade when rape jokes were REALLY REALLY common in order to say that nothing you say or do today matters.

And that same group is ALSO really interested in expanding the concept of what pedophilia is to include age differences in adults or liking the wrong style of drawing and it’s a purity culture silencing tactic and can we PLEASE stop pretending that gross, tasteless jokes are the same thing as actually sexually abusing people? Can we stop pretending that pointing out “rape jokes were more common fifteen years ago and I feel bad about it but that’s just the way it was and I don’t make jokes like that anymore” is the same as saying “rape isn’t bad and you shouldn’t make a big deal out of it.”

It’s always good to try to be a less shitty human but if you’re only allowed to grow and improve and be less shitty if you never fucked up in the first place then it’s all just calvinist bullshit and none of us could ever really be saved in the first place.

I dunno, dudes. We got so careful about disapproving of the wrong kind of language that we let a white supremacist concern troll Disney into firing a director who caught the attention of the alt right by shit-talking the president.

I think perhaps we need to reexamine some strategy here.

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sendmyresignation · 4 years

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In Defense of Teenagers:

Ok so. There seems to be a general consensus that Teenagers doesn’t fit on the black parade or that it ruins the trajectory of the album or that the song order of bp needs to be changed to fit the b-sides and drop Teenagers, or it should have just been a single- basically any option other than its inclusion between Sleep and Disenchanted would have been better. now, i’m not here to tell anyone that they’re wrong- i just want to offer an alternative perspective because i truly believe Teenagers is right where it belongs and that its inclusion on that album is, in my opinion, completely necessary to the album’s narrative arc. I want to focus on the way Teenagers builds into the foundation of the Concept Record, the way it bridges the gap between Sleep and Disenchanted so as not to delegitimize Disenchanted’s impact, and the fact that no other available material fits into the struggle the Patient endures at the end of the narrative (sorry this got LONG here’s a read more)

So, before we get into the meat of Teenager’s narrative significance, i wanted to briefly mention the way it makes Black Parade a more cohesive whole in relation to the material it is mimicking. Like Black Parade as an album is structured very differently from Pink Floyd’s The Wall- but it takes a lot of the same beats and recontextualizes them for a new purpose. Both records use war and relationship troubles and school and drugs to create an atmosphere that leads to disillusionment. In The Wall, this is quite literally the protagonist, Pink, building up “bricks in the wall” that isolates him from the rest of society and lead to a downward spiral into cynicism and hate. But Black Parade uses the same tools that The Wall does to say something different- things, specifically the actions you've made or the trauma you've endured, haunts you and makes your life seem insignificant in the face of what happens to you and those regrets are what causes the Patient to fall into a cycle of damnation and cynicism. This is representative of the Patient's descent through the afterlife- each new "layer" of the Patient's exploration is equivalent to a brick in The Wall's metaphor. Additionally, in this new context, this song in particular takes The Wall’s discussions of adolescence and the vice-grip control older generations attempt to force on teens and the disillusionment with the future and retells it from a new perspective- both literally in the fact the song is now more reflective of the 2000s post-9/11 and post-columbine culture, but its also literally from the perspective of the Patient as an adult. Teenagers, as a result, becomes a necessary piece of that puzzle- it is the refraction of Another Brick in the Wall repurposed to mean something new entirely- it’s no longer about kids being forced into complacency by a cruel education system from their own perspective (the children’s choir allows them to speak for themselves) but about the ways in which adults see those kids and why they decide to enact actions similar to those within The Wall. I mean even the imagery used in the song’s music video is purposely almost plagiarizing The Wall- it feeds into a separate analysis of the video and song outside the narrative as well- which i don’t have time right now to get into, its just very interesting that the band is bodily removed from their instruments at the end of the video and the teenagers in the audience have rendered them incapacitated (“they’re looking for a rockstar to kill” anyone?) it's the metaphorical tearing down of the wall from a completely different perspective. Anyway, the work Teenagers does for the narrative is it fits the album into the Concept Record Cinematic Universe- it is a piece that evokes the material it is influenced by to build off of the old to create the new- without it, the connections to The Wall would still be there, sure, but it wouldn’t be as complete- you cannot recontextualize the album without the foundation of Teenagers.

Teenagers is also, at its core, a subtle subversion of genre- using the blueprint of a specific kind of song to center the song within the timeline/narrative. In this case, the same way I Don’t Love You mimics and exaggerates the emotive and plaintive 80s rock ballad, Teenagers twists the classic rock of a bygone era to specifically call back on the stadium rock anthem. Black Parade, on the whole, does this quite frequently- most of its songs take pre-existing genre cues and subverts them in ways that play off of the expected tapestry of a concept record to create individual sounding songs that seamlessly transition into one another yet remain entirely separate. It maintains their presence as scenes in a larger tapestry- specifically the fabric of the Black Parade being a morality play. This serves two purposes, it allows for this exaggeration of genre to become a motif within the work (see mama, cancer, house of wolves, i don’t love you, wttbp -> they all play with a different, varied song type/structure that is distinct from each other) and it plays off of existing genre-stereotypes in ways that contribute to the songs overall function. I Don’t Love You, for example, undermines the fundamental purposes of sappy power ballads- to express one of the two dualities of love songs: the cheesy unconditional “i will love you forever” types or the plaintive, melancholic end-of-relationship song by instead focusing on the complexity of a not-quite-finished relationship. The ballad then shifts from an expression of love to one of human loss- and the loss is less about the individual speaking, but moreso about what the other character has become - it’s a mourning not for the relationship, but for the person themselves, who they used to be in a way. It shifts from the one-dimensional view of what a ballad can achieve and instead infuses the anger, the resignation, the drama, the transformation- it humanizes a very stock genre full of platitudes and uses our expectations to create something more interesting. Similarly, Teenagers takes a tired genre and utilizes the working mechanisms of its typical song structure to subvert and repurpose those into commentary- its literally a stadium rock song that devolves into a chant. Looking at the loud drumbeat that resonates in your chest, the all together now as a command that lures the listener into singing along, the addition of more chorus vocals at the end like a crowd is shouting along, the screaming and the solo on after another like the song is falling apart a little bit, all of these elements build into a song literally meant to be infectious and replicated by the audience. Herein lies one of the songs many interpretations- humans can be easily influenced by the media they consume, the perspectives they are fed. What happens when the view that we have of adolescence is cloaked in mistrust and violence? This aspect of the song is less about the band reconciling teenagers being moved to committing acts of violence and more in analyzing how an audience can be persuaded into believing the erroneous view of teens as fundamentally destructive- are you not repeating the chorus? do teenagers not “scare the shit out of you”? Obviously the band doesn’t want you to believe this but it does what you to think about why this perspective is so common. It's a cultural subliminal message that is present in songs and tv and books that we simply do not question- it is a chant we cannot help but join in on. Teenagers is a replication of that process, but is clearly just subversive enough (both as a piece of genre and just as a song in general terms) that the listener knows its commentary and not itself propagating that viewpoint. Every song on Black Parade does this kind of “genre-bending” to make a point in some way or another, so it's a significant reason Teenagers fits into the albums cohesion.

But,Teenagers isn’t just important to the album in its sound- it lyrically parallels Disenchanted in a way that effectively moves on from Sleep without losing the album’s emotional momentum. Sleep, conceptually and lyrically, is a very heavy track- its influence from the Dune soundtrack’s Final Dream turn a cinematic, swelling piece of instrumentation into an oppressive blanket of noise that bears down on the listener and the lyrics are referential to the patient believing themselves to be irredeemable and monstrous. It's also inspired directly from Gerard’s vivid and violent night terrors during his stay at the paramour- including a recording of Gerard’s recollection of those dreams, that mentions being choked, seeing loved ones die, burning alive, etc. To transition directly from such a dark, personal subject into a reflective acoustic number about the narrator’s adolescence would be tonally inappropriate and almost laughable- it would stop the progression in its tracks, while also doing a disservice to Disenchanted. Having a break is necessary! And it's even more appropriate for that break to be a song about teenagers considering Disenchanted is so nostalgic. Additionally, Teenagers brings up a really interesting narrative thread about the Patient becoming disenchanted with the youth that then directly transitions into a song about him losing faith in his values and sense of self- they are directly correlated conceptually. Looking deeper, Disenchanted is a punk song. sort of. more specifically, it is the foundation of a punk song that becomes a ballad through narrative framing- it takes punk cliches (running from the cops, the crowds, the imagery of guillotining traitorous rich celebrities) and turns them wistful and sad because the Patient is looking back at something they no longer understand or identify with, it allows the narrative to illustrate how the Patient feels like their life was worthless and didn’t amount to much and they’re just another stupid punk kid who grew up and didn’t achieve anything. and you can’t get to this point from Sleep because it would weaken Disenchanted’s impact, make it seem insignificant and petulant in the face of Sleep’s heavy and grand sorrow. Lyrically, you need Teenagers to bridge the gap between the war metaphors and the visualizations of hell and the all-encompassing nature of cancer in order to redirect the focus to the Patient and limit the scope of the narrative at the end of the album. Teenagers, within the story, then functions as the Patient reflecting on the nature of youth and, in the wake of Mama’s “we all go to hell” rhetoric, comes to the conclusion that teenagers are wholly violent, easily manipulated, and unsympathetic. It's another step in the Patient removing his own agency and viewing his life as predestined at the same time it allows the “plot” to focus back on the more nostalgic and mundane aspects of the patient’s life. Doing so makes Famous Last Words so much more significant because it forces the Patient to reconcile with his past before he can move forward (whether that's living or dying its still applicable). so, Teenagers is very important to the overall “plot” of Black Parade- it is fundamentally necessary for the pieces to fit together.

Another larger aspect of Teenagers' importance is that it introduces the fate versus free will internal debate central to the ending fourth of the record. The song lays the foundation for this thematic idea by being about the fated violence of the youth and how they cannot help but to respond to their world with anger and cruelty. This realization about adolescence by the Patient leads to him perceiving his own youth as destructive and worthless and in following the themes of guilt/regret and damnation it's this violence that began his path to hell or his current state of suffering. In that vein, Teenagers leads into the idea that your life is predetermined or that there is a destiny that we all have (in the Patient’s case its the absence of a future, or “a lifelong wait for a hospital stay”) and no matter what, you cannot fight that. While Mama gives a blanket statement about how "we all go to hell", Disenchanted centers the Patient's specific destiny by saying his whole life has led up to his illness and, looking further, there is the implication that life before that was retrospectively pointless. So, as previously mentioned, Disenchanted begins, structurally and lyrically, as a punk song- this sort of expression of youthful existence that, in any other song or under another faster instrumentation, would fit on some basement demo from 1986. But it doesn't stay that way, instead it actively subverts the genre it's cliches are lifted from- thinking specifically about “we ran from the cops” and the “roar of the crowd” that is juxtaposed with the change in structure or theme. Namely, punk songs (speaking generally here) aren’t wistful because there isn't really a sense of legacy in punk music. There's history yes, but most songs are about the immediacy of emotion, not existential questioning. The retrospective nature and the shift into a ballad structure are elements reflective of a change in the main character brought on by the disillusionment present in teenagers from a punk kid to a dying young man looking back on the banality of youth and the hypocrisy, the trauma and the lack of agency. It's so much easier to think that nothing matters and the perspective makes it so much easier to give up.

This build from Teenagers into Disenchanted regarding the Patient's fate allows Famous Last Words to become an even stronger end because it's in direct opposition to that perspective. Famous Last Words is a song that screams fuck fate and fuck the past- the only thing that matters is moving forward. The image of the Patient keeping on whether he’s walking into the afterlife or continuing to stay alive as long as possible becomes something difficult, something he had to fight to achieve - he had to struggle to find a new understanding. That he can't be "afraid to keep living" or "going home" and that these are concrete actions, a use of free will. And that free will is very specifically defiant. Regardless of how you view the Patient's end, he makes the conscious decision to accept the present and move forward. We are not fated to die alone, nor is life worthless. Black Parade proves that the opposite is true, that we must grow to accept the value of life, and it's so much stronger having the Patient actively reject nihilism and apathy. Ultimately, Teenagers introduces the main thread of the final songs and without it, those songs would be narrative incomplete.

So, Teenagers has a valued place on the album sonically and within the narrative whole, that much is clear. But another reason that the album order of Sleep, Teenagers and Disenchanted is important is that none of the other material written for the album comes close to filling its place. In this case, I am going to be specifically talking about the b-sides since the demos are incomplete and we have no idea what the final version would have sounded like (but I would contend they don’t fit either). Beginning with the easiest song to discard from the narrative- My Way Home Is Through You has its moments in the lyrics but it's completely out of place musically- plus the tone is a little too hopeful for this point in the album which does not gel with Disenchanted’s hopelessness. It's also incongruent with the album since Disenchanted is effective as the only “punk” song on a record that plays with and explores genre and having this come before it would ruin the previously mentioned motif of each of the songs being individual and unique in form. Also, it really adds nothing to the fate vs free will theme- meaning its placement would weaken the disenchanted/flw combo ending. Moving forward, Kill All Your Friends seems to fit, considering its cynicism and nostalgia, but the bridge (“you’ll never get me alive, you’ll never take me alive, do what it takes to survive and I'm still here") doesn’t fit the Patient’s slow decent into apathy at all and contradicts Disenchanted’s loss of faith in the idea of living- it's too hopeful and centers survival and resilience in a way that makes it an ineffective substitute for Teenagers as a bridge song. And finally, Heaven Help Us is too religiously centered- it would refocus the fate vs free will discussion in the context of god/angels when that isn’t a theme in the album up to this point (hell is the grounded point of the album- the protagonist has already accepted their fate by Mama- having a reconciliation with a lack of faith or the absence of God seems completely out of left field when its just not an established part of the narrative) Black Parade is actually one of the mcr albums with the least references to god/angels in the heavenly religious sense- more centered around the human struggle against determinism: the usage of damnation is Catholic inspired but divorced from the division of hell vs heaven and is instead about guilt and worthiness and agency. The presence of angels or god or any divinity would simply weaken the narrative by expanding the album's focus outside its own limitations. Also, the Patient isn't ever a martyred figure, if anything he is purposely pathetic. Including any comparison of the Patient to Christ ("give you all the nails you need") or a saint unravels the key feature of the Patient's character: that he is insignificant. His insignificance and his struggles with his past actions make him a character who must find the strength to live through the guilt and pain to prove that everyone is worthy of life. The overarching purpose of Black Parade is emphasizing that no matter what we've done and how dirty we feel, we can move forward and either accept our afterlife or we can find value in being alive. Because of this contradiction, Heaven Help Us destroys the central theme of the entire album if it is included. With all of this in mind, it seems to me that the b-sides are their own nebulous thing- they don’t tonally fit on Black Parade (though I do think they fit together and are interconnected thematically) but any of them would break the flow since they seem angrier and gritter in a way that is noticeably absent and would be at odds with from a lot of Parade’s resignation. They also just do not complete the narrative, they are simple not as good as Teenagers at bringing all the pieces together.

If I still haven’t convinced you, a bonus reason Teenagers is a valuable memeber of the Black Parade tracklist, Ray was the only one who believed in the song- he called it genius (x) so listen to mr chemical romance himself telling you the song is Good and Important :)

anyway now you should, at the very least respect teenagers based on a couple thematic ideas expressed here, if not also understand why it’s imperative to black parade as an album, as well as the narrative itself. <3

#here she is. my teenagers manifesto. months in the making :')#this is the equivalent of getting on my biggest soapbox and screaming for hours please enjoy <33 #my posts #mcr assigned reading #my chemical romance #mcr #black parade

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purple-dragon · 3 years

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in defense of chapter 139 (spoilers!)

it's still hard for me to get my thoughts in order so this might be a little disjointed but:

the (seemingly) extremely unpopular opinion: i liked it. a lot.

first let me go over the things i'm !!!! about that don't need further discussion: EXTRA FUZZY CONNIE!!!! jean and connie live!!! jean and connie see sasha and get some closure!!!! lmao this is just the jean and connie show isn't it

okay next. did the chapter feel a little rushed? yes, of course. is there stuff i wish was elaborated on? yeah, no shit. i wanted to see how the battle with hallu-chan ended. i wanted to see historia's side of the story. i wanted to see ymir's side of the story. if yams ever decides to come out with a series of epilogues or something that go more in depth, i would 100% support that. i want more. however, i'm still happy with this chapter because even though it didn't answer all of my questions, it was thematically consistent with the rest of the work. the ending made sense with where the entire manga has been building up to. it wasn't some kind of ass pull that came out of nowhere.

on ymir... i'm a little conflicted on how her story ended. i interpreted her backstory like this: she was in "love" with fritz the only way she knew how to be. fritz slaughtered and enslaved ymir's people, and yet he gave her attention, favor (i'm assuming), and sex (which we know to be rape, but she probably did not). this of course isn't actually love, but to an orphan with quite literally nothing else and no one to teach her differently, it must be love, right? it's got all the right ingredients (but we know it has none of the necessary dynamic).

so with all of that, ymir had no concept of what love actually is until mikasa came along. mikasa, who, much like ymir, loved someone so much that she dedicated her whole life to him. who would willingly lay down her life for him, just as ymir did for fritz. they're incredibly alike wrt the people they love, but with this major difference: mikasa is able to put herself and the world first, even if it means killing eren, while ymir has chained herself, intentionally or not, to fritz for 2000 years. mikasa ends up being the real inspiration for ymir - that's why we saw her smiling at the end of 138, because she sees the real, true love between eren and mikasa, but mikasa is still free, so ymir can free herself too.

actually, now that i've typed all that out, the more i realize that i like it, i just wish we saw it, rather than me interpreting a whole character based on a handful of panels.

now i guess i'll talk about reiner and levi? first off, i'm so so so happy that they both survived. levi was arguably the most damaged character through the whole series, and reiner was actively suicidal - i know a lot of people thought they were going to die as the end to their character arcs, but i'm so glad they didn't. i'm very happy that they both get the chance to rest and heal from everything that happened. reiner gets the chance to figure out what he wants to do with his relationship with his mother (and he's still simping for historia alskdfjasld), levi can live quietly (with the kids!!!!!!). they've both found something new to live for and i love it

also,,, gabi and falco are so cute i love them so much (wish udo and zofia were here too tho,,,)

okay. to the meat of the chapter.

i can't fit all of my thoughts on eren here, i'd have to write a whole essay on him, but i will say a little. i didn't see this chapter as a character assassination at all - i saw it as us finally seeing what was under the hard, cold mask he's been wearing since the time skip. because like, we know eren. at his core, he's the same emotional person he's always been - more grown up for sure, and more of an edgelord, but still him? and he must have been in constant pain, seeing all of time all the time... my poor boy. and even knowing that he has become an irredeemable monster, he still wants to live with mikasa and his friends, winning their freedom at the cost of his own... that's tragic, man. that shit hurted.

"thank you for becoming a mass murderer for us" excuse me??? armin??? sir hello?? is this allowed hello??? armin what the fuck?

also,,, did eren reincarnate as a bird? is that what that was implying? what was up with the birds through the story then?

eren and armin finally seeing the world together... i am in Pain

hooooooly shit, that dina reveal was not at all what i expected out of this chapter. like i knew the theory was out there, but i didn't expect it to be confirmed at all? i've seen the interpretation that eren just directed her into shiganshina, or that he directed her straight to carla, and tbh i like the second one more. it's darker and more messed up and i just think it's neat. ymmv, though.

i don't know how anyone thinks this is a happy ending, rather than bittersweet or outright tragic. like sure, our favorite characters are alive (except the obvious), but the world is still massively fucked and will be for the foreseeable future. 80% of humanity is dead, there's probably even more wildlife gone, and most of nature has been absolutely flattened. ecologically speaking, eren might have pushed this world into a mass extinction. additionally, removing titan powers from the world wasn't a magic ticket to peace - all it did was level the playing field between countries, and we can see that where the alliance becomes ambassadors and it says in the narration "this fight won't end until either the eldians or the rest of the world is wiped out". the equivalent to this would be to magically remove all nukes from existing and stop them from being made in our world - would it magically bring peace? no. of course not. would it put countries on a slightly more equal footing? perhaps.

basically, what i'm trying to say is that the fight hasn't ended, it's only been brought down to a human v human level, rather than human v titan v technology. what the implications of that for the world are, i don't know, and i wish yams had elaborated on that a little.

what eren did, then, with the rumbling, was give back the world's choice. there's no more titan threat, no more of his friends being forced to fight and die in 13 years, no more babies born with their choice to fight already stolen from them. he gave them freedom by eliminating the titans - exactly what he said he was going to do.

also on that note, what is up with the jaegerists? it seems like in and before the rumbling, all the extremists died out? maybe? like floch and his ilk, and that's why they aren't rushing to massacre the rest of the world, but who really knows... i want more post-rumbling worldbuilding...

finally (i think), that brings me to mikasa. i'm... not mad about the way we see her story end, tbh. i've seen people saying she just stays on paradis forever with eren, alone and practically in exile, but i don't think that's it? like we only see the gang 3 years in the future. mikasa loved eren so much, she dedicated her life to him from the time they were 9, and in the end he died because she killed him. let that sink in, y'know? the love of her life didn't just die, she killed him herself. if it were me, it would take me a lot longer than just 3 years to heal from that. and i think that's what we see her doing there at the end - resting and healing from undoubtedly some of the worst moments of her life. healing from grief isn't a quick or linear process; you don't just get over something like that. i know the saying goes "time heals all wounds" but sometimes it doesn't.

if we saw her maybe 10 years down the line, it might be a different story. maybe she would be in a much better place, with her own new family and goals. maybe she would be worse off, still missing eren and stuck in the past. i don't think that would be the case, though who knows? but for 3 years in the future, i think chilling on paradis with the memory of eren was the right place to leave her.

here's what i like to think happens in the future (and this is why i love semi-open endings, because some things are concrete but there's so much left open to interpretation): over the years mikasa heals, as does the world. she goes traveling the world with armin, and sees the rest of her friends often. she and levi are close - you can often find them having tea together. on occasion, she returns to paradis to share stories of her adventures with eren('s grave). in the end, she lives according to her definition of happiness, whatever that may be now, and though she never forgets eren, she keeps moving forward, and much like reiner and levi, finds a new purpose in life.

annnddd... that's all. unless i come back to add something i forgot about later, but we'll see if that happens.

#long post #snk #aot #shingeki no kyojin #attack on titan #spoilers #snk 139 #snk spoilers #in defense of chapter 139 #the dragon does meta

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innuendostudios · 4 years

Text

Thoughts on Even More Games

[vague, unspecific spoilers for Heaven’s Vault, Later Alligator, and Life is Strange 2]

Thoughts on Heaven’s Vault

Heaven’s Vault is a game about archeology, which means it’s also a game about incompleteness. This is very clever. Inkle - also the developers of 80 Days, which I will play someday! - specialize in deep narratives that can be explored many, many ways, allowing for a lot of player choice. You make a lot of small decisions - do you share a discovery with the trader in exchange for a valuable item, or hide it so he doesn’t plunder it? do you go looking for your missing friend, or let her stay missing in case there are people trying to follow you to her? These all have their own little arcs and resolutions, and there are so many of them, and so many ways they can play out, that the game can never be played the same way twice. The overall story begins and ends in the same place and theoretically hits the same major beats, but the journey is tailored broadly and finely to each player; it’s a style of design Aaron A. Reed refers to as “not... a branching tree but a braided rope.”

Making a narrative about archeology is how you dodge the exponentially complicated nature of that design: if there are dozens of locations, characters, plot threads, bits of color, which can be engaged with at many points in time, or ignored, or dropped by the player halfway through, how do you avoid telling a story full of gaps and dead ends? Well... you don’t. Having only partial information and having to infer the rest is what archeology is.

The protagonist of Heaven’s Vault, Aliya, is digging up the secrets of an ancient civilization, having been sent by her academy to find a researcher who’s gone missing, and stumbling into his incredible discovery. Everywhere she goes, there are holes: she has partial understanding of the researcher’s journey and motives; he, in turn, had partial understanding of the mystery he was uncovering, and Aliya has only fragments of his knowledge; the ancient texts she translates are usually fragments of larger works, and she is guessing at the meanings of many of the words; the game’s constantly updating historical timeline has entire centuries with nothing but question marks. Aliya arrives in a new location and wonders aloud to her robot companion about what this place was, when it was founded, when it was abandoned, how her predecessor found his way her and where he went next and what he took with him.

The constant feeling of discovery - of unearthing - is magnificent. Site after site, I asked, “What is this place?” Always thinking, if the eventual answer is any good, this is going to be one of the best games I’ve ever played. And, in the end, it doesn’t give you an answer, it just give you enough to make the story feel complete. It answers by not answering.

Also, translating alien texts is just extremely my jam. I’m the weirdo who enjoyed the ending of Arrival but secretly wished the whole movie had been about xenolinguistics like the first half. I guess Inkle felt similar.

The game’s by no means perfect. I think I enjoyed the sailing between worlds more than most - it’s slow, but very pretty - but it’s going to discourage a replay. I don’t think the relationship between Aliya and her robot, Six, ever gets terribly interesting. Some of the archeology is a little too obviously game-y - sail around, wait to find a random ruin, beam Six down to grab an ancient doodad, translate a bit of text, lo and behold it’s from one of the sites you’re looking for and it’s narrowed your search radius somehow. (It gives Star Trek explanations the first few times - e.g. “it has radiation that only exists in one part of the nebula” - and then stops bothering.) And the game sags a little in the middle; it could’ve hacked out 3 or 4 dig sites and still given me the same experience.

But, all told, there’s magic in it, and it just feels good to be there. Do not sleep on this one.

Thoughts on Later Alligator

There’s not a ton to say about this game except that is charming as hell. Lindsay and Alex Small-Butera have build a beautifully animated world of cute alligators, one of whom is having a birthday party where he’s convinced he’s going to be murdered. He wants you to run around getting information out of everyone who’s going to be there, which you get by completing minigames. It’s a cast of weird and funny characters with weird and funny dialogue and there’s not much more to it than that.

The design can be a little frustrating. Some minigames, if you lose, you don’t get to try again. Some are annoyingly finicky. You need to complete them all to get the true ending, which means, in my case, playing the game three times to complete all the bits you missed or got locked out of. The ending was a little different each time, so it wasn’t a total wash, but the game’s on a timer that only advances when you play a game or take the bus, and once you’ve completed most of the games there’s a lot of traveling back and forth from one nowhere to another just to advance time to the next unskippable plot beat.

(It’s also a little unclear what you’re missing as you try to get the final ending, as some of the ongoing puzzle are optional.)

But I can’t get mad. The game is too damn cute! Each character is lively and unique, with tons of personality, and the dialogue is just clever enough not to fall into empty adorkability.

It good.

Thoughts on Life is Strange 2

Somewhere, early in the development of Life is Strange 2, some Dontnod employee wrote in a design document “Episode 4 - cult?” (but in French) and nobody told them “no.”

I will not forgive them for this,

After twenty minutes of LiS2, I was ready to yell at everyone who had reported it was boring. It has one of the most powerful, gut-punching openings of any game I’ve played in recent memory. And all through the first, second, and third episodes, I was in love. Unlike Before the Storm, this was its own creature, willing to make dramatic departures from the original game’s template. Instead of controlling a character with supernatural powers, you play as the superpowered character’s older brother. The one with the magic is a 9-year-old, unable to fully understand or control his abilities, suffering a recent trauma, and needing to be guided through a dangerous and racist world. All the ambition missing from Before the Storm is back, and this time the animation isn’t creepy and the writing is wildly improved (thanks to some journeyman script work from Fullbright’s Steve Gaynor) and I even have a computer able to play it on higher graphical settings.

But nothing good lasts.

Everything good about the series screeches to a halt in Episode 4, the one where some asshole said “cult?” and didn’t get a Nerf football thrown at their head. And it’s not just that it’s a terrible idea; it’s actually sort of amazing how much the game relies on an alchemy of plot, tone, theme, and writing, and how a slight imbalance can throw the whole thing off. Episode 4 has scene after scene that are powerful in their conception - brothers reunited after a violent rift; a boy having his first conversation with his estranged mother in nearly a decade; getting interrogated by the feds for a crime that can’t even be explained by physics - fall flat because the writers can’t think of anything interesting for the characters to say. (Steve Gaynor’s name stops appearing in the credits as of this episode.)

And here the game’s rickety bits, kept delicately together for three episodes, start to shake apart. Dontnod’s overly-earnest voice direction, which I didn’t notice in the early episodes, started to wear me down. (”Could you sigh mid-syllable, like you’re slightly overwhelmed with emotion?” “Sure, on which line?” “All of them.”) The thinness of the secondary characters, most of whom pop up for one episode and disappear, became more noticeable. The lack of a mechanical hook like the time rewinding of the original game, and the attendant commentary on choice-based games and power fantasies, made the game feel less substantial. The surreal imagery of the original, obligatorily evoked in the prequel, is sensibly absent, but there’s nothing equally striking that replaces it. Even the branching path decisions become less clear: the end-of-episode stat screens for the final episodes mentioned at least a dozen choices I didn’t even know I’d made, some of which were critical in shaping my younger brother’s morality and were not necessarily the choices I’d have made if I’d known I was making a choice at all.

Come the final episode, I got An Ending that seemed right for the way I’d played, but much of the way I’d played felt accidental.

So what are we to make of this? Life is Strange is a beautiful disaster, an ambitious disaster, where Life is Strange 2 is almost less interesting for being more competent. It has a huge mess of charged topics - American racism, teens losing their virginity, raising a child outside the nuclear family, grief and trauma - and, while it handles them without the gracelessness and sledgehammer subtlety of the original, it doesn’t come to any conclusions about any of them. LiS1, for all its jank, had some opinions, where LiS2 falls into the category of “this sure is some shit, innit?” games.

It starts with a powerful premise, deeply relatable characters, fine writing, beautiful art, but can’t even manage, in the end, to be a disaster. It is the only game in the series so far to be forgettable.

#Adventure Games #capsule review #heaven's vault #life is strange 2 #later alligator

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lucy-ghoul · 3 years

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Mikasa Ackermann, Levi Ackermann, Amane Misa, Aeron Greyjoy for the charactet ask :3

SOMEONE HEARD MY PRAYERS AND NOW MY TIME HAS COME, tysm!!!!! <3

okay, let's start with levi (my beloved):

hogwarts house: gryffindor (maybe....?) | slytherin | ravenclaw | hufflepuff

ugh, the hp sorting house system is way too reductive. he has qualities of gryffindor, slytherin, and hufflepuff - brave, astute, loyal to a fault, etc. so it's a hard choice. but if i really have to choose, i'd go for gryffindor. i know that his Bad Boy facade shouts slytherin, but while he has larger goals (killing all the titans, then saving the world etc.), he's got no actual ambition for himself. hufflepuff would also be a good option.

daemon (from the his dark materials series): (because i've just decided that's just way more accurate than the hp method) some kind of big feline. maybe a panther - a black panther would be the ideal - aloof, predatory, dangerous, fiercely independent.

best quality: besides his obvious strenghts as a leader and warrior, the way he cares for his comrades-in-arms. it's very hard to gain his trust and respect, but once you have it, it's forever. he's pragmatic and ruthless, yes, but he also has a huge capacity for compassion and friendship. not that he would be effusive about his affections, of course.

worst quality: none, he's absolutely perfect ❤ jklsdfhjk jokes aside, he really struggles to open up (a serious understatement), idt he ever talked about his traumatic past with anyone. i mean, maybe he mentioned it to hange and erwin (erwin knew him when he was still an undergound thug, so...), but... he's not great with feelings. despite his apathetic, intimidating mask, he feels and cares deeply, but he has a long history with losing the people he loves, so he tries to not personally care about his squadmates, which can be both a strenght and a weakness. of course, he spectacularly fails at this.

ship them with: well, it's not a secret that i'm a huge rivamika fan, this ship is almost literally consuming my waking thoughts lmao. imo they're perfectly compatible: very similar personalities (stoic, the strongest warriors, absolutely terrifying on the battlefield but with a soft underbelly), very similar pasts/experiences, so many parallels that it's actually ridiculous, etc. i love how they're both each other's equals and likeness (yes, i took it from jane eyre. no, i don't regret anything lmao). a lot of tropes i love, too: Terrible First Impression (the Pride and Prejudice vibes are so strong with these two, you have no idea), Kindred Spirits/Mirror Images, Veteran/Young Prodigy, The Last of Their Kind, even Height Difference lmao. i could write a whole rivamika manifesto, but this is already too long. (maybe for some other time 👀) i would've loved for their dynamic to be more explored in canon but alas, isayama clearly didn't give a shit about the ackerman legacy, he just used it as a plot shortcut to give them conveniently unique powers, since they never really talked about it 🙄 (and before some troll comes into my askbox shouting "you iNcEsT fReAk!!!!1!!", they're only very distantly related. we know shit about the ackermans but we know for sure that they've got at least several generations between them. biologically their shared DNA is 0%, obviously they don't see each other as family, all the eldians have a dead ass common ancestor from 2000 years ago so they're all basically ⁓related anyway. if you really wanna scream about i.ncest, go watch got/dark/the borgias and shut the fuck up please. or alternatively go outside and touch some grass) sorry for the rant, uh. anyway, i can also see levi/erwin. idk if i'd ever care enough to read a fic about them (i'm usually a huge multishipper, but for some weird reason not when it comes to rivamika? same with braime and kastle tbh), but still, i can see it.

brotp them with: hange and erwin, obv. veteran trio >>> ema trio, sorry not sorry (at least h. and e. died before yams had the chance to ruin their character arcs)

needs to stay away from: ...uh, filth, i guess? lmao

misc. thoughts: besides the stupid teenage fangirl crush i have on him, i'm genuinely fascinated by the man himself. he's a huge mess of a contradictions, and yet somehow it works: he's violent and brash and kind of an asshole, but also has a strong moral code and integrity; he's obv very skilled at all the killing/torturing stuff and yet he has a huge respect for life; he's got a potty mouth to say the least, and yet some very aristocratic manners/tastes (the way he sits, his preference for tea and usually refined clothes); he comes from what's supposed to be an illustrous bloodline, he's methodical and very precise, and yet he was born and raised in the underground, he's been used to filth and blood and poverty since he was a child, kenny of all people was his father figure, and probably has known no other life than a perennial survival mode existence. he's "humanity's strongest soldier", but while well-built he's also small, the david to the titans' goliah, and probably not what people would assume a born warrior looks like. he's also one of the few characters who stayed true to himself and his original characterization until the end, bless you smol king ❤

(okay, this is getting long!)

mikasa:

hogwarts house: gryffindor | slytherin | ravenclaw | hufflepuff

this is actually easy: mikasa belongs to hufflepuff and no, i won't take criticism (just joking lol). enough with this "hufflepuffs are fluffy puppies/Cinnamon Rolls <3" thing: mikasa values loyalty and duty more than anything else. she's also hardworking... and fierce, strong, lethal. yes, hufflepuff and lethal are not mutually exclusive concepts.

daemon: (finally the better option) a she-wolf, fiercely protective of her pack.

best quality: loyal, brave, incredibly strong (alongside her more fragile qualities). practical and level-headed on the battlefield, at least when eren is not included in the picture.

worst quality: struggles to let go of the past (understandable, considering her trauma). tunnel-vision when it comes to eren, obv. extreme levels of delusions ("if only i spoke openly about my romantic feelings for him - as if i didn't made them abundantly clear in ⁓6 years - he wouldn't kill 80% of humanity :(((" lmao okay. just. okay), but that's more on the writing. she's sadly more static than any other main character throughtout the whole series.

ship them with: see above :) but recently i've also started to be intrigued by mikasa/annie and mikasa/sasha. also, i'm sympathetic to jeankasa fans, though i don't actually care for the ship.

brotp them with: EMA trio, especially armin+mikasa. their friendship is so beautiful and special. also sasha.

needs to stay away from: ...... eren, at least romantically. again, that's more on the writing than anything else, but e.remika unfortunately encompasses many tropes i loathe with all the strength of my old shriveled heart: childhood friends-to lovers where the (male) childhood friend doesn't acknolewdge/is completely indifferent to the other (female) friend's romantic feelings, she hopelessly pines for him for years without anything more than a cold shoulder... until in the last chapter it's revealed that he loved her all along and doesn't "want other men to have her!!! :((" (then why did you have no reaction whatsoever to jean's years-long crush on her while she was jealous of any vaguely female-shaped human being you were friendly to, including hange? are you that dumb, man?); the female character's development and entire arc 100% revolves around the male protagonist - she has no goals, no dreams of her own except staying with him forever and ever; the romance is based on an idealized childhood dream, therefore reaffirming those childish illusions would make the character regress, not actually grow up (and nope, epilogue!jk doesn’t count; that also lacks build-up - i would’ve said the same about rm as well, so it’s not about shipping, guys, it really isn’t - and mikasa needed an inner change; getting married to another man but still praying to eren’s shrine is not substitute to actual development lol). post-time skip she's never really frustrated/angry with him, they never get a confrontation about him becoming a, y'know, mass-murderer of gigantic (pun intended) proportions; she puts him on a pedestal, and never stops idealizing him/never sees him for what he actually is (the narrative framing him as some kind of tragic martyr/saint eren from paradis with zero agency and basically... no clear motivation for the abovementioned mass murder, and not the actual complex tragic anti-hero/villain motivated by revenge and righteous fury he deserved to be, does not help). it lacks a good or even decent build-up - it's basically all tell and not show. now, if they'd actually been childhood friends to enemies to lovers/mutually co-dependent... it could have been interesting. sadly, it's not my cup of tea. of course this is just my personal preference, no hard feelings to the shippers.

misc. thoughts: enormous potential. she's been my fav female character since s1 - and ah, i miss s1!mikasa, when she had actually other stuff to do besides mothering eren. i love that she's the strongest warrior (second only to levi, obv), that her skills are never called into questions despite her gender, i love how she stands up for herself and the people she loves, that she may seem cold and stoic and yet has a such a huge heart, that she's not perfect but also sometimes awe-inspiring. sadly, she never really gets out of eren's shadow; what she lacks is an arc focused on herself. that's why imo getting deeper into the ackerman lore would've helped (also, you cannot make the main female character and the most popular male character descend from the same Unique Bloodline or whatever, and never really make them acknowledge it out loud; as a writer, you just can't lol). my spite is so strong that i'm currently writing a ridiculously pretentious fic that's 70% development for her character, to give her a voice, and 30% ackerthirsting. (yes, that's the fic i'm always vagueblogging about lmao, rip @ my brain). if any other rivamika fan is interested… mind you, it’s in italian tho, and idt i have the skills to translate into english.

misa:

hogwarts house: gryffindor | slytherin | ravenclaw | hufflepuff

daemon: mmh, maybe some kind of butterfly? beautiful, colorful, and short-lived.

best quality: glorious fashion sense, more inventive and ingenious than fans actually give her credit for.

worst quality: shallow, impulsive, and obv her dependence on/obsession with light (which stems from trauma btw, but still… the very opposite of a relationship between equals).

ship them with: rem, kinda (monster/human ftw!). also weirdly enough mogi, a little bit? she deserves someone who actually respects her… though she’s far from being a perfect angel. she may actually be crazier than light on some aspects. but in this house we stan evil ladies anyway, so i have no problem with that <3

brotp them with: uh, idk, maybe matsuda?

needs to stay away from: obv light. also takada.

misc. thoughts: a tragic victim of sexist writing. she may be… unhinged to say the least, but she didn’t deserve the abuse she got from light (and from the fans). the female characters’ writing in dn is so bad that idk if it’s on purpose, to kinda mirror the reality of women in a patriarchal society (dependent on men, housewives whose life entirely revolves around their husband/boyfriend etc.), or just casual misogyny lol. it’s even more baffling since we don’t know the author’s gender (they may be a man, a woman, nb, anything really). i tend for the latter option tho.

aegon greyjoy (now, i wasn’t expecting him lol):

hogwarts house: gryffindor | slytherin | ravenclaw | hufflepuff

i’m so sorry, i haven’t the slightest idea lmao. maybe gryffindor? mind you, it’s been a long time since i’ve re-read the books, so i don’t have many thoughts about him.

daemon: maybe it’s cliché, but some kind of fish/squid lmao

best quality: ugh, i really can’t remember much from his chapters :(( he’s not a coward, i guess? (lame answer, sorry!)

worst quality: definitely his religious fanaticism.

ship them with: no one.

brotp them with: uh… his family, ig? except euron.

needs to stay away from: obv euron. brr ://

misc. thoughts: i genuinely like the greyjoys chapters, though i vastly prefer the martells (with the exception of theon and asha, bcs i love them). yes, they’re deranged. yes, victarion is… well, victarion lol. but the drowned god religion is actually interesting, grrm knows how to write trauma - every time aeron mentions euron and that freaking door i’m like… :// - and the tragedy of it all… just great writing all around.

okay, that’s the end lmao. thank you so much, love!!! ❤❤

#1 #2 #3 #4 #5 #asks #cafeleningrad #if *anyone* dares to start stupid wank on my super niche blog they'll be blocked on sight i'm warning you #snk salt

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juiceboxman · 4 years

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So I took Siobhan’s advice and listened to the BBC’s radio adaptation of the Lord of the Rings from the 80′s

It’s pretty good, you can listen to it here https://soundcloud.com/inkmore/sets/lord-of-the-rings-radio

I had some issues with it but I liked it for the most part. I’m not a massive LoTR fan, only watched the films so I don’t know much, but here are the thoughts I had.

I once heard someone describe Hobbits and the Shire as “drama free people” after listening to this series, that’s obviously not the case. Hobbits seem to live for the drama, always talking shit behind one anothers back. I think Tolkien was trying to satirise rural or village life in England and I think he did a good job depicting how petty people can be.

Sam is a working class hero and Frodo doesn’t deserve him.

I understand how people can like Sam/Frodo because there is massive gay vibes coming off them. Personally I interpreted it to be unrequited and an example of some class division, with Sam being working class and Frodo being middle class. The amount of dedication and support Sam shows Frodo I don’t think Frodo would show back if the roles were reversed. I feel like its a very one sided relationship with Sam putting in way more effort than Frodo.

Bilbo’s whole thing seems to be that he went on a gap year once that turned out quite bad and now he kinda lives like a hermit.

I don’t know how reliable to the books the Radio series is, but I feel like the movies do more justice to stuff. Like in the Radio drama Gandalf makes his first appearance by just coming through the door and Bilbo is like “ah, Gandalf” and...that’s it. Movie version was better in my opinion.

I think the radio drama does a lot better to explain what the ring of power does than the movies. I always got confused by what the ring does, like in the movies all it seems to do is turn people invisible and make them into heroin addicts. With the radio I kinda understand more about it. Like the ring’s power kinda depends on the wearer, like a Hobbit could simply use it for invisibility and expanding their life force but a King could use it to control the minds of an entire enemy army and a Wizard could do even more. But it’s still vague and I presume Tolkien intended it to be, like it’s just a representation of the concept of power and this world’s equivalent of a deal with the devil. Power or wishes may be commanded but they will ultimately corrupt you.

Time in the books seem wild. Like at one point Gandalf says that Bilbo has gone off and he himself will start researching the ring and then twelve years go by and Frodo has just been fucking about, forgot that the ring even existed and Gandalf comes back and is like “oh yeah, ring is bad”

Also, Frodo is 50 when he leaves the shire???? Jesus

Also, were the Nazgul just running about for 12 years looking for the ring? Like at one point the Nazgul knocked on some Hobbit’s door asking about Frodo and the Hobbit told him to go fuck himself and slammed a door- to a NAZGUL

Aragon’s voice in this radio drama is...way off. Like it sounds like Greg Davies. You don’t really have the soft voice of Viggo Mortinstein but the gruff righteous voice of the Principal from the Inbetweeners

Elrond denying Aragon to marry his daughter until he becomes king of Gondor is like a stern dad refusing you to date his daughter until you get a real job.

Also Aragon gets the reforged sword, like, immediately when they leave Riverdale. Which is a bit weird to me.

It makes sense why Frodo is trusted with the ring. A king couldn’t be trusted because he’d use it for conquest. A Wizard could overthrow Sauron but in doing so would become just as bad so you’re back to square one. With a Hobbit, there is no desire for conquest or any wish for power outside of simply having the ring. Even when Golum had it all he used it for was to hunt fish and extend his life cycle. I’m curious of whether if Sam had carried the ring all the way to Mordor if he could will himself to destroy it or would he have failed like Frodo.

Gimly and Legolas’ friendship is so cute. Like they start off disliking eachother but bond over their prowess in combat and plan out a gap year after the whole fellowship where they see the sights of middle earth. So wholesome

I don’t understand why they didn’t just kill Golum. Like I know he was important to find the way to Mordor and was ultimately necessary to destroy the ring after Frodo failed, but like the idea of “don’t kill him because of pity and he also probably has a part to play” is bullshit to me. Like he’s so gross and troublesome. It’s the same excuse Jedi have with “oh you can’t kill a Sith Lord because striking them down means you need to embrace the dark side” bitch Luke Skywalker round house kicked a guy into a Sarlack Pick- whaddya mean he can’t kill this wrinkly ass Emperor??? Ethical mental gymnastics are mind blowing.

For me the moment that made me really dig the series was when the Fellowship disbanded. Like shit hit the fan and everyone’s forced to do their own shit, really engaging storytelling.

The series is quite short when you consider all the battles are short cutted. Like in the radio drama you’ll hear a series of grunts for 30 seconds and then a song about how bad that battle was. I guess it would take a lot to depict a battle purely by means of audio.

Seriously the series is quite short, like it’s 13 hour long episodes and by episode five I’m like “oh shit we’re starting the second book already? Damn” It felt half the time there was so much stuff cut out I don’t know why

I think the radio drama is best suited for people who have either watched the movies or read the books. Like I don’t think it’s well suited for people who haven’t seen LoTR content before. Like the scene with the Balrog there is no description of what it looks like.

Also, Gandalf fought the Balrog from the deepest dungeons to the tip of the mountain? Damn, Gandalf’s leg day must be intense

I love the introduction of Treebeard and the Ents. Like you get this horrific imagery with warring Orcs and other evil creatures and then turn a hard 180 to these hilarious tree people. I guess that’s why the LoTR is so great. Because you do get those hard, gruesome battles but you also get these lovely peaceful wholesome scenes.

Quick question, how do you meet a guy called Saruman and then be surprised that he’s the bad guy? It’s the same deal with Victor VonDoom.

Also, did Tolkien have to have all the big villains names sound so similar?

Man, Tolkien loves having people end up together. With the Horse Princess who got friendzoned by Aragorn meeting up with that guy from Gondor. You love to see it

So like, was the King of Nazgul just talking shit or can he not be killed by a man? Like could anyone kill him by stabbing him the face or did the Horse Princess just find a loophole?

At one point this woman kinda makes fun of this flower called Kings Seed or some shit and Aragon basically calls her a THOT

Kinda sad the series didn’t have more dragons. Like I would have liked to see a huge black dragon at the final battle at Mordor. But that’s just me, I love me some dragons

Also, the final battle at the gates of Mordor is so endearing. Like they don’t even know if Frodo and Sam are still alive but they go to war anyway because they believe they are and in doing so keep the eye of Sauron off of them. It’s really heart warming

The radio’s version of the destruction of the ring is kinda anticlimactic. Like I said it’s better with the dialogue than it is at the representation of physical actions like combat. Like if you didn’t know what happened at the end of the lord of the rings and you were listening to this you would have no idea that Golum fell into the lava with the ring

I love the owner of the Prancing Pony’s reaction to Aragon becoming King of Gondor. It’s like “hey, remember that guy you saw shit in the woods that one time? Yeah he’s the President”

Also Sam’s Pony lives at the end of it. Love to see it. I feel like Tolkien read his first draft to his kids and they were like “what happened to Sam’s pony?” and he was like “uh, yeah, the pony....the pony lived! yes! the pony found its way back to town” you can tell this story is vibing on a different level than GoT or ACOC

Hobbits returning to the Shire fucking shit up like level 16 PCs returning to the town they started the campaign in

Also, all the Hobbits in the shire have no idea what the fuck went down? Like I understand they live in the middle or nowhere but that’s astounding

It’s so funny what ends up happening to Saruman. Like he goes from being the second in command of the Dark Lord to being a shitty local businessman in a Village in Yorkshire

I can see how people can really get into the LotR. Like a world like GoT is just fucked beyond compare and any happy ending will be bittersweet at most. But here you have an ending where the characters leave the world better than when they found it

Frodo asking Sam to live with him was him totally trying to get with Sam, right? And Sam was like “oh that’s nice Frodo, but I have gf” and Frodo’s like “oh that’s alright, she can move in too!” it’s like watching a man back step his request for love by inviting a family into his home. You missed your shot Frodo! You had a whole year with Sam and you blew it!

Sam ultimately moving on from Frodo with his thicc Hobbit gf is the character development we deserved

That said, in the movies Sam getting a gf was a thing at the end of the third movie- like he’d been so shy before hand but after almost dying he’s like “fuck it, might as well give my shot” but here in radio drama he...had a gf all along? Like we only hear about her in the final episode and he’s like “oh yeah, my gf ain’t too happy. I left her for a year to fuck about with you so now I need to marry her. Woops” very startling

Also love how Tolkien represented PTSD with Frodo. I don’t think works of Fantasy like this before Tolkien really did this stuff justice. That said the ending is a bit weird. Like I understand that the “Undying Lands” are supposed to reflect Tolkien’s belief in Catholicism, Eternal Life and Heaven. But it’s really hard to not interpret the ending as Frodo as struggling to deal with his PTSD so he commits suicide. Because the Undying Lands is a place that Sam cannot follow. It’s heart breaking but that’s the vibe I got off the ending.

So yeah, there’s my thoughts. It’s pretty good but I’d only recommend the series to anyone who’s either seen the movies or read the books. If this was your first introduction to LOTR I don’t know if that would be any good.

Also, while we’re here I recommend Escape from the Bloodkeep from Dimension 20. It’s DnD actual play series that is a slight parody of LOTR. It’s really good.

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#dimension 20 #acoc #escape from the bloodkeep #lord of the rings #lotr

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tessatechaitea · 4 years

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Justice League Spectacular #1 (1992)

Just off-panel: Bibbo's ice cream truck.

I probably shouldn't be reading this or Justice League Quarterly before I read the Giffen/DeMatteis Justice League but what can I do? That's the order they were placed in the short box! It would be a different story if free will were not an illusion but since it is, my hands are tied. It's either read this or, um, I don't know. Die from a temporal paradox? I won't risk it! I was looking through a bunch of my old writing and art last week and discovered a bunch of the kind of sentimental and sort of intellectual crap young people write. It's the kind of stuff you hide away and never show anybody ever and hope that when you die, it'll just get tossed in a dumpster with your old porn and Magic the Gathering cards. But it got me thinking about how brave I am! So brave! The kind of brave you wouldn't hesitate to call some jerk who signed up for the military because he couldn't live as a civilian. No, no. More braver than that! And being this super brave kind of person, I thought that maybe I should share some of this old poetry with everybody! But not yet! You have to work up to being truly brave! So instead, I'll share this piece of artwork I did that was supposed to be the first in a lengthy and disgusting series. It's of Lord Fondlerot, a character I created for the Dwarflover online comic I used to do. He was really into fucking things and I thought, "Hey! I should do a series of drawings where he fucks every creature in the monster manual!" But instead of doing an entire series, I drew one picture and grew either bored or disgusted with the concept. So here's that one picture:

Lord Fondlerot fucking an Axebeak.

Now you're probably wondering just how terrible my poetry must be if I'm opening with that! Well, you'll see soon enough! This issue begins with Sue Dibny still alive and visiting a Florida theme park with her husband, The Elasticated Man. Wow, remember when Sue Dibny was killed and all the heroes freaked out about their secret identities and considered doing intense brain damage to every single person who ever knew any of their identities until they found out that The Atom's ex-wife Jean Loring had gone cuckoo for Atom's cocoa puffs? She wanted them back so bad that she began threatening and murdering the loved ones of all the super heroes. It was the kind of story DC sometimes does where you read it and think, "Well, the twist at the end of that mystery was definitely worth the destruction of the most stable marriage in the DC Universe and also the death of Firestorm and Captain Boomerang! So good!" I mean it doesn't make you think that. It makes you think the exact opposite. Tom King would eventually do pretty much the same thing in Heroes in Crisis but instead of Jean Loring fucking up by accidentally killing Sue Dibny and murdering more people to cover her tracks, Wally West fucks up and kills Poison Ivy and some others and then tries to cover his tracks. But at least Tom King's had all of those entertaining scenes where the heroes are doing therapy and we get to see how much they're all suffering from PTSD. That's always a fun aspect of super heroes we never get to read enough about. Dammit! I keep doing it. I meant it was the opposite of fun! Although I still liked it because sometimes I just like seeing other people in pain. Not in a sick perverse way where I pop a boner or something! Just in that way where you sit around all day thinking, "My life is terrible and everything is wrong and I hate my parents for bringing me into this wretched existence and the only thing that might make me feel better is to learn that Superman sometimes feels the same way." Oh, remember when Tom King was writing Batman and he had that two issue Booster Gold arc where we got to see how fucking insane Booster Gold was from living through all of those horrible, wretched, dark alternate timelines? And the only way he can deal with the trauma and the PTSD is by making a joke out of everything? I'll have to think of that as the canon Booster Gold when I'm reading Giffen and DeMatteis's Justice League. Maybe it'll make all of Booster and Beetle's inappropriate joking more appropriate. Back to the story, Sue Dibny, alive and well, and her husband Ralph "The Elasticated Man" Dibny are busy showing a bunch of European diplomats around the non-Disney World theme park.

See? You can tell they're European because they're all smart and shit.

The first stop in the park is to Alice's Wonderland where the diplomats are attacked by the Royal Flush Gang. They are a gang whose theme is playing cards and not expensive toilets. Their powers are the ability to ride on gigantic cards and to make poker puns.

If looking good in tight fitting costumes is also a power, it's my new answer to the question of which super power would I choose..

Ten's outfit reminds me of the days when nipples were allowed to show through tops without being erased away through some kind of editing software. The 70s were a wild decade! Sure, there were also nips on television in the 80s but the 80s, generally speaking, sucked and were a huge contribution to the downfall of America.

The King of Spades mansplaining their entire concept to the Queen of Spades.

It's true that the royal flush beats any other poker hand but I doubt Superman is going to surrender after this concept is explained to him because, in the end, they're not fucking playing poker. It turns out Maxwell Lord paid the Royal Flush Gang to make a little trouble so the Justice League could beat them up and get some media attention. But the Justice League has apparently broken up and The Elasticated Man just isn't hero enough to save the European delegates all by himself. He might have been if the Royal Flush Gang had done what they were told and not really fight back. But why would they do that?! Wouldn't they still be in trouble with federal agents?! Booster Gold finds Blue Beetle busy pouting in the old Justice League cave headquarters. Booster has decided to try to cheer his old buddy up although why wouldn't Booster just travel to a timeline where Ted Kord is already cheered up? Is that how time travel works in the DCU? Or did Booster already try that, it went horribly sideways, and now he's a little more fucked up in the head when he returns to the "real" timeline?

For some reason, Ice and Fire have also come down to the cave. Probably to accidentally go on a double date with Booster and Beetle. Booster and Fire and Beetle and Ice hear a news report about the Royal Flush Gang and decide to go save Ralph. Superman also hears about the situation and heads to Florida where he's almost immediately defeated by The Royal Flush Gang. Not because they're dangerous and competent super villains but because some mysterious benefactor has give them weapons capable of knocking out Superman's powers. Maxwell Lord is not that benefactor so who could have done it? Certainly not Guy Gardner, right?! What would he want with getting the Justice League back together. Isn't he busy being Warrior or something by this point? Power Girl, Metamorpho, and Guy Gardner all join in on the fight. The guy behind it all is that Weapons Master dude who is desperate to get a new weapon for his arsenal: a Green Lantern ring. The attack on the Royal Flush Gang fails to get him the ring so he decides to attack directly. But not in this issue! He has to wait for a regular series issue. Ice uses Guy's ring to contact Hal Jordan because somebody finally decided this Justice League wasn't really a big league Justice League. Everybody reading it knew it for years. But I guess Dan Jurgens was assigned the task to get a new, more believably powerful League together. So Hal Jordan flies around to pick up some new members to save the day. He chooses The Flash and Aquaman which seems about right. But he also chooses Crimson Fox which seems like sliding backwards into goofy Justice League territory. Not that I totally approve of Aquaman but I have to admit he's a "serious" choice for the League.

Doctor Light also joins the party. Although why she'd keep the name of a pedo, I couldn't guess. Just become Lightwoman or something. But no! Once some jerk earns their doctorate, they just have to demand to be called Doctor.

I'm sorry. I was too distracted pointing out that Doctor Light joined the fight and how her namesake was a pervert to comment on Metamorpho acting like a huge fucking pig. Crimson Fox beats up some guys dressed as cards and admits that she's a boring idiot whose favorite part of the game is shuffling the cards. I understand the need to think up some kind of goofy one-liner when you go into battle but shouldn't you at least try to think up one that doesn't make yourself sound like a pathetic asshole? Weapons Master's plan failed but he figures he has enough information to get Green Lantern's ring next time. He'll then sell it to a Dominator for a few bucks and maybe some slaves. The big hitters talk it over and decide they should start a new Justice League without the approval of the United Nations. Yeah! Who needs some stupid Earthly authority when you've got an invulnerable Kryptonian, an all powerful space cop, and the king of the seven seas! All they need is a Greek Goddess and a mentally ill furry with a long history of violent behavior and they'll have the big team back together! Booyah! I mean, without that stupid Booyah shit because Cyborg is basically a toaster at this point. Maybe. I don't know! What am I, Johnni DC, Continuity Cop?! The heroes make one more decision: split the group into two Leagues. So once again, they're forming Justice League America and Justice League Europe. How come I don't remember this shit?! Did the comics get canceled in '92 and then immediately fired back up? I don't seem to remember two different incarnations of these teams. Maybe I should have stored my comic books in chronological order so it would all make sense. Justice League Spectacular #1 Rating: C. I just read the letters pages and it looks like this comic book takes place between JLA #60 and JLA #61! So editorial decided the teams needed to be shaken up and the best way to do it was to disband the League in the regular series, have a special one-shot comic that gets them back together but with a different roster, and then send them back to work in the next issue of the regular series. I guess I should just shove this comic book into the middle of the regular series so when I reread it all again in my 80s, it'll make more sense! Let's close with the worst drawing of Aquaman I've ever seen:

Actually, he looks a little bit like Grunion Guy.

#Justice League Spectacular #Justice League #DC COmics #DC #Dan Jurgens #Gerard Jones

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ranger-report · 4 years

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Thoughts On: HEXEN: BEYOND HERETIC

In 1995, less than a year after the release of Heretic (which I talked about here), Raven Software unleashed a masterpiece upon the first person shooter landscape. Titled Hexen: Beyond Heretic, the game featured radical new features for the id tech 1 engine, including scripted events (such as monster falling through the ceiling to ambush the player), hub level design, CD music, and moving walls. But what it really brought to the table was an unrelenting difficulty and obtuse puzzle system revolving around the discovery of multiple switches throughout a central hub to open the path to the next world. Combined with a pseudo-RPG character class feature, beautiful sprite work, and a rich atmosphere to explore, Hexen introduced concepts and mechanics that influence FPS games to this day, overshadowed only by the release of Quake the following year.

YouTuber GmanLives produced a video on Hexen calling it, “The Dark Souls of FPS Games,” and that's really not far off the mark. Hexen is oppressive. It's brutal. It's actively trying to prevent the player from achieving their goal of beating the game. While the previous entry in the series, Heretic, offered a fast-paced shoot-em-up blitzkrieg, this game operated with a more measured approach. Methodical pacing, resource management, and the utilization of each class's weapons are key to moving forward. Hidden doors and paths and switches, sometimes activated with the use key and sometimes by firing a weapon at them, permeate the levels to the point where half the game can be spent clicking or shooting at random walls just to see what's going to open up when – or if at all. Most games would tuck away secrets by this method, but Hexen, oh no. Hexen offers little rewards aside from survival, and it's glorious. It's harder than shit, but it's glorious.

Opening up the game, players are given three options to choose from: Baratus the fighter, Parias the cleric, or Daedolon the mage. Each class has their ups and downs; for example, the fighter is a beefy fucker who has high hit points and damage, but weak magic, leading to a mostly melee combat style if you run out of mana. The mage is the opposite, low hit points but high magic damage, with some gorgeously rendered spells that beautifully highlight the detail that id tech 1 was capable of. And the cleric is a mixed bag, balanced between the two, with a woefully weak melee weapon and decent ranged magic weapons, but he also carries the single best weapon in the entire game: the Wraithverge, a crucifix that shoots out Arc of the Covenant ghosts that scream and eviscerate anything on the screen in a glorious display of carnage. Clear out a room in seconds with two well placed shot. Arguable, the Wraithverge should be right up next to the BFG 9000 as one of the most ridiculously overpowered weapons in any game – maybe even higher. But the Wraithverge is an Ultimate Weapon, and each class has an Ultimate Weapon, which needs to be assembled over the course of the game by finding the pieces of it tucked away in hidden corners of the levels. Depending on your vigilance, you might find the pieces sooner vs later, and the rewards for this are plentiful. However, unlike the prior game, this game doesn't use unique ammo type for each weapon; that would be too easy. This time around, weapons require mana to use, coming in two different flavors, blue and green. Each class works as such: weak melee weapon that needs no mana, a slightly stronger weapon that uses blue mana, a much stronger weapon that uses green mana, and the Ultimate Weapon which uses both. With the fighter, all of his weapons can be used as melee if he runs out of mana, but if he has the stock, they take on ranged properties. The mage has a starting weapon that requires no mana, but it still ranged. Meanwhile, the cleric maintains the balance with his solo melee weapon, and the rest are ranged. What's notable about the differences in the classes is that it's not just limited to weapon usage, but also inventory usage. Different classes will garner different amounts of armor points depending on their “familiarity” with how to use armor. There's an item called a fletchette that varies in use depending on the class; for example, the fighter throws the fletchette like a bomb, where the cleric drops it in place and it explodes into a cloud of poison. New players will have the opportunity to briefly look over the classes at the beginning as the opening screen displays stats such as speed, armor, magic, and strength, all of which seem a little arbitrary since they don't explicitly state what they do or how they affect the game up front. At the same time, each class is going to lean towards a bit more difficulty, seeing as how the tanky fighter is going to make bruting through the game a lot easier than the tissue paper mage. First time players would do wise to pick the fighter or the cleric as their first timer, saving the mage for a later playthrough, unless you're a masochist when it comes to the games that you play.

One of the great distinctions about Hexen as compared to Heretic is that the former feels more like a fully realized game world vs the cool fanfic/DOOM clone of the latter. Director and designer Brian Raffel no doubt had a hardon for dark fantasy substance, having worked on Raven's previous two fantasy games, and with the release of DOOM thought, “You know, we can do something with that.” Didn't hurt that id Software was just a block down the street from their offices around that time (true story!) and John Romero, AKA Rock God of Gaming, worked directly with Raven during development so they could make the most of id tech 1. Taking what they knew after Heretic, hungry to dive in further, Hexen feels like a natural expansion of the concepts introduced in the first game: weary travelers journeying through worlds and dimensions to combat an ancient evil using magic and steel. It's great stuff, leaning even harder on the 80's horror fantasy art aesthetic. The game is oozing with deeply detailed monsters and environments, even more refined than the very good work done on Heretic. Translucent objects, fog, breakable terrain, each hub and level are intimately crafted to feel like it's a living, breathing world, not just something you've decided to boot up on your 486 PC. Ranging from traditionally gothic architecture with stained glass and parapets, to jungley swamps, arid canyons, and moldy sewers. And as mentioned before, it's brutally oppressive, absolutely unwelcoming in design. Even the environment doesn't want your presence here. Sometimes it doesn't even want the other monsters around; if you're lucky, you can get creatures to turn on each other by creeping into a new area, and if you can go unnoticed before their attack animations kick in, monster castes will infight with one another, saving you precious mana in the process. It doesn't always work, but when it does, it's a fun little sight to behold your meddling.

The sound effects are truly phenomenal, a game worth wearing headphones for. Composer Kevin Schilder returns for the soundtrack, and while his work on Heretic was suitable, here he knocks it completely out of the park. Ominous, brooding, energetic but not too up tempo, it's perfect dungeon crawling music that creeps up your spine at the same time. Meanwhile the distinct creature sounds echo and crawl around corners, letting you know what is where, and also what to be afraid of. I can still hear the sounds of the Dark Bishop in the back of my head, letting me know that I need to turn tail and put some distance between me and them. Enemy design is even better this time around: the aforementioned Dark Bishops take the role of the previous game's Disciples of D'Sparil, teleporting and blasting you with dark magic from their hooded, faceless bodies. Ettins are double-headed warrior beasts that carry a spiked mace, and are the most prevalent monster class in the game – and while they might be everywhere, they pack a helluva wallop, meaning you don't underestimate them no matter how many times you've killed one. Meanwhile, the Centaurs and Slaughtaurs are horrible little shits. Just like the tag says, they're centaurs with full-face helmets, swords, and spiked shields. They can raise their shield to deflect any incoming attacks and reflect them back at you, which is infuriating, especially since the Slaughtaur can fire deadly green magic at you while holding up their shields. And since they look the same, you have to approach any of them with intense caution, otherwise you're staring down the face of death while waiting to make your next strike.

Puzzles operate primarily on a “find the key/switch” platform, but rather than tracking down everything necessary to proceed in a single level, Hexen challenges the player to locate and operate everything they need to move forward throughout a spread of areas around the hub. For example, the Swamp Key won't be directly located in the swamp itself, but maybe over in the Forest. Multiple switches necessary to unlocking the Final Door in the central hub are located in the various hub worlds, informing the player with a quick “You have solved 1/3 of the puzzle” text across the screen when you've found one. Find another switch, the number increases from 1/3 to 2/3, etc. But each hub has more switches, all the way up to nine switches necessary to journey on, which to some is going to be a slog. While frustrating at times, I never felt like I was wading through a switch hunt just to proceed. Each switch seemed to naturally pop up on its own, and once I realized that certain areas couldn't be accessed within the levels themselves, I'd hop around the various worlds in the hub until I found a new switch or key, and then went back. Imagine if Super Mario 64's paintings were all connected to each other, and you had to hop back and forth between them in order to get to the next floor of the castle. It's innovative, and certainly makes sense; if an evil overlord tyrant person were going to hide the keys to access their lair, they probably would spread them out to make it harder to find. It's gratifying to open up section after section of these levels, defying the odds and slaying your way through the puzzles. Adding to the depth of torment is that, unlike Heretic, clearing a room of monsters doesn't mean it will stay that way. Scripted sequences again have monsters teleport in when you least expect it, repopulating areas you thought were safe for the time being. Damning though that may be, it adds to the feeling like the player is being watched at every moment, and that the game is doing its level best to fight back against your progress.

Hexen is hard. I resorted to a walkthrough once, just like in Heretic, and absolutely utilized the minimap in order to suss out where switches were located. There is nothing here to suggest a walk in the park: it is labyrinthine, it is torrid, it is nightmarish. But the mechanics all come together in the end, particularly in the moments where the game gratifyingly presents a room full of mana and health and a lot of monsters to let loose on. These apeshit moments are some of the best in the game. After spending hours managing resources and trying to hoard as much mana and health as possible, to be allowed a moment of pure rip and tear is wonderful.

If you're going to play Hexen, I highly recommend getting the expansion, Deathkings of the Dark Citadel. Not only is the title metal as fuck, but the three new hubs it offers are even more vicious, demeaning, and frustrating. They shove all the elements of the previous five hubs down into three, and it shows. You'll be assaulted on all fronts right from the start, continuing where the final battle left off in Hexen. You still get to pick your class, but sadly, you're also starting over. Curiously depowered and without any inventory items to work with, you'll feel extra squishy for the first level or three. Honestly, Deathkings was where I felt I had the most pure Hexen experience: solidly brutal and unforgiving as fuck. Interestingly, Deathkings was released in 1996 around the same time that Heretic got a retail release with two additional episodes under the name Heretic: Shadow of the Serpent Riders. Factor this in with the upcoming release of Hexen II in 1997 (which saw a hefty difficulty spike as well), it seems that Raven got in one last hurrah with id tech 1 before moving on to id tech 2 -- the Quake engine. But more on that game in another post.

As with Heretic, I recommend playing this one through GZDOOM in order to get the best experience. And you'll need the best experience to stay one step ahead of everything that's trying to kill you. In a nutshell, Hexen is a true masterclass of determination to see the day through. For fans of retro FPS games, it's a must play, but be warned that coming into this after Heretic there is a distinct shift in how the game plays, looks, feels. Gone is the run and gun, which exists now only in pockets. But what's here, crafted lovingly and passionately, is a true nightmare of agony and difficulty unlike anything made before it. As Gmanlives summed it up, perhaps Dark Souls should be called the Hexen of third person adventure games.

Next time, we'll take a look at Hexen II, a popular but vastly different title in the series, and how the changes it made not only distinguished it from the previous two games, but may have also set it slightly backwards as well.

#hexen #raven software #id software #doom #heretic #first person shooter #dark souls #roses and ruins #ck burch #thoughts on #ranger report

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eldritchsurveys · 4 years

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873.

5k Survey I

1. Who are you? >> I’m Mordred. 2. What are the 3 most important things everyone should know about you? >> I’m sensory-defensive and post-traumatic, I'm part of a multiple system, and I’m a fictional character. 3. When you aren’t filling out 5,000 question surveys like this one what are you doing? >> Taking way shorter surveys. When I’m not taking surveys at all, I’m posting on tumblr or pillowfort, reading, playing video games, researching video game lore, watching a movie or show, or trying to manage my hellbrain (which is a whole separate task in itself). 4. List your classes in school from the ones you like the most to the ones you like the least (or if you are out of school, think of the classes you did like and didn’t like at the time). >> I do my best not to think about school, the last bit of which was 15 years ago anyway. 5. What is your biggest goal for this year? >> I don’t make goals like that.

6. Where do you want to be in 5 years? >> It’s inconceivable to me to plan ahead that far. Even to think ahead that far seems silly and pointless to my very present-focused (and past-haunted) mind.

7. What stage of life are you in right now? >> Adulthood. Just the general “adulthood” between hectic young adulthood and transitional middle age. 8. Are you more child-like or childish? >> I’m not child-like or childish. I simply understand that the division between “childhood” and “adulthood” isn’t nearly as cut-and-dried as society has organised it for the sake of legality and social interaction, and I also understand that the desire to escape childhood and “childish things” is a conceit of the young, who wish to be seen as grown and independent creatures (which is part of development! it makes perfect sense). By the time you get to your thirties, it really stops mattering. You know you’re an adult. You know that being an adult means you have the freedom to do whatever you want (as far as leisure and play and stuff like that goes, I mean), which means you can sit in your pjs watching cartoons and eating sugar cereal if you like, and no parent can chide you for it, and your peers can fuck off if they don’t like it. (The “adult” part of doing that is knowing to stop after one and a half bowls of said cereal, lmao. It’s all a balance, innit?)

9. What is the last thing you said out loud? >> I don’t remember. 10. What song comes closest to how you feel about your life right now? >> I don’t think there’s any song that can capture that. Or, maybe there is, but I don’t know about it. 11. Have you ever taken martial arts classes? >> No. I’ve been interested, but frankly, I can’t afford anything like that. 12. Does your life tend to get better or worse or does it just stay the same? >> There is no set trajectory, like that. Life has high points and low points, and the majority of it is really spent somewhere in the middle. It’s just that we focus on the high points and the low points most often (and when the low points are particularly low, they often end up defining our entire existence, even when we’re in the middle or even at high points). 13. Does time really heal all wounds? >> It’s not time that does it. Time just always happens to pass while the healing is being done, so we figure it’s the most common denominator. It takes work to heal, not just passively sitting around waiting for it to happen. 14. How do you handle a rainy day? >> I bring an umbrella, if I have to go out. Usually I don’t, so I just... do what I would do normally? 15. Which is worse…losing your luggage or having to sort out tangled holiday lights? >> Obviously losing your luggage... 16. How is your relationship with your parents? Will you miss them when they are gone? >> We have no relationship. There will be nothing to miss. 17. Do you tend to be aware of what is going on around you? >> Yeah. Especially since I’m prone to hypervigilance. 18. What is the truest thing that you know? >> The truest thing that I know is that I don’t know shit, and neither does anyone else. We’re all just elaborately guessing about shit, and interpreting reality the best way we can. Which is great, really. The fact that we keep trying to understand shit is cool. Just... “the map is not the territory” kind of applies to a lot of the stuff we think we know. ...Or not, right? After all, what do I know? :p 19. What did you want to be when you grew up? >> I just wanted to be free. 20. Have you ever been given a second chance? >> Probably. 21. Are you more of a giver or a taker? >> I’m a fair amount of both, being, you know, a person. 22. Do you make your decisions with an open heart/mind? >> I make my decisions the best way I know how. Whatever that means. 23. What is the most physically painful thing that has ever happened to you? >> Menstrual cramps. 24. What is the most emotionally painful thing that has ever happened to you? >> Yeah, right, like I’m going to be able to rank that. 25. Who have you hugged today? >> No one. 26. Who has done something today to show they care about you? >> --- 27. Do you have a lot to learn? >> Of course. I don’t necessarily have to learn all of it, but it sure is out there. 28. If you could learn how to do three things just by wishing and not by working what would they be? >> I don’t think that would be of any benefit to me. As much as I balk at taking those long uphill journeys to skillfulness, I feel like those journeys are beneficial and aid one’s growth. I’d rather not just snap my fingers and have a djinni grant me abilities like that. 29. Which do you remember the longest: what other people say, what other people do or how other people make you feel? >> How what other people do and say makes me feel. 30. What are the key ingredients to having a good relationship? >> Meh. 31. What 3 things do you want to do before you die? >> I don’t have a list like this. 32. What three things would you want to die to avoid doing? >> I think I would rather die than be incarcerated. So I’d take the death penalty if I could avoid a life imprisonment sentence... 33. Is there a cause you believe in more than any other cause? >> Not particularly. 34. What does each decade make you think of? The 1920’s: Prohibition. Wait, was that the 20s or the 30s? 30’s: World War II. 40’s: The rest of WWII. 50’s: I just think of... all the propaganda images from that era. You know, all the... domestic Whiteness... also, weird foods like meat aspic. 60’s: Hippies and Woodstock. 70’s: The Vietnam War (and the protests). 80’s: Hair metal. 90’s: Grunge and weird television/movies. 2000 : Well, I was an adult for most of this decade, and more or less aware of the world, so I don’t have a succinct “concept” of the aughts the way I have for decades that I didn’t live through, that I only have historical knowledge of. 2010’s: ^

35. Which decade do you feel the most special connection to and why? >> I feel an emotional connection to the spirit of the nineties. I don’t feel like trying to organise my words to explain why, I feel like that would take a lot of energy right now and I still have fifteen questions to go. 36. What is your favorite oldie/classic rock song? >> I don’t have one particular favourite. 37. What country do you live in and who is the leader of that country? >> United States. Donald Trump is president, weirdly enough. If you could say any sentence to the current leader of your country what would it be? >> I’d rather not, thanks. 38. What’s your favorite TV channel to watch in the middle of the night? >> I don’t watch television in the middle of the night... 39. What Disney villain are you the most like and why? >> That’s a great question, but the thing about Disney villains is that I don’t relate to them as much as I just love watching them do what they do. Like, my favourite is Judge Frollo, but I don’t think it’s because I have anything in common with him. Or, hell, maybe I would burn down an entire city because I don’t know how to handle the fact that I really want to bone this superbly hot chick. (My actual favourite villain is Catholic Guilt.) 40. Have you ever been a girl scout/boy scout? >> Briefly. 41. If you were traveling to another continent would you rather fly or take a boat? >> I would rather fly. I feel like boat travel would take a particularly long time and I’m not into that. 42. Why is the sky blue during the day and black at night? >> Oh, you know. Science. (I’m not Google.) 43. What does your name mean? >> I’m not sure anyone really knows what “Mordred” means. 44. Would you rather explore the depths of the ocean or outer space? >> Outer space. 45. What is the first word that comes to mind when you see the word: Air: Astrology. Meat: Beef. Different: Strokes. Pink: Panther. Deserve: Entitlement. White: Power, unfortunately. Been reading about too many fucking Nazis lately. Elvis: Pelvis. Magic: Mountain. Heart: Head. Clash: Punk. Pulp: Fiction.

46. If you could meet any person in the world who is dead who would you want it to be? >> I don’t care about this. 47. What if you could meet anyone who is alive? >> I still don’t care. 48. Is there a movie that you love so much you could watch it everyday? >> Of course not. I did watch Event Horizon every day for like a month, but I was in the psych ward at the time. What the fuck else would I have done anyway? 49. You are going to be stuck alone in an elevator for a week. What do you bring to do? >> What do I bring to do?! That’s definitely the least of my concerns with a hypothetical like this. I can’t fucking survive in an elevator for a week, dude. 50. Have you ever saved someone’s life or had your life saved? >> Doubtful.

#surveys #survey #5000 question survey

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bigskydreaming · 4 years

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1) Hi! It’s a strange question, I know, but I’m curious: how much do you take what happens behind the scenes into account in your analysis of a character or a storyline? To make an example, the push and pull of Dick’s filial status in the narrative is a consistent and frustrating thread in the comics, but has probably roots in the fact that Dick’s arrangement made sense in the 40s in a way that it didn’t anymore by the 80s.

Its a good question, without a good answer. Best I can say is it varies and I kinda take things on a case by case basis. Sometimes behind the scenes stuff doesn’t really change much about what’s on the page one way or another, and sometimes its extremely relevant.

For instance, your example of Dick’s status as ward vs adopted...I think its very much something where real world context and factors have a ton to do with it. I’d definitely agree that Dick as Bruce’s ward made total sense in the writers’ eyes and didn’t need changing or addressing until the 80s, which culturally is when adoption and blended families became a lot more....it feels weird to say mainstream in regards to that, but it kinda fits because the concept as a whole became more popularized and normalized and likely to have a presence in media in the 80s in ways it never really had before.

Personally, I don’t think there’s really any issue with Dick not being adopted before then, and think it has more to do with the zeitgeist of those times rather than in character choices about Bruce not wanting to adopt Dick for whatever reason. So my own approach to this particular matter is for me, it only became an issue when an additional variable was added...Jason and his adoption....as especially once Dick himself was written asking Bruce why he never adopted him...even though the most relevant answer up until that point was likely just that it had never been a culturally significant issue for their characters to have until now......once writers DID introduce Dick’s own view/question on the matter into the canon, THAT’S when I personally view it was being more of an issue that Bruce waited so long after THAT point before actually adopting Dick.

So for my own take...whether in meta and discussions of canon or my own fic stuff....I don’t really put much emphasis or even focus any real attention on Bruce not adopting Dick before that point in canon stories OR the concurrent position in the timeline....by that I mean, the approximate age I think Dick was when he first asked Bruce about that, eighteen or nineteen. I think there are certainly stories that can be written that involve Bruce adopting Dick or raising the matter for discussion earlier in Dick’s life like when he was fourteen or fifteen....but I don’t personally feel much of an urge to write things with a negative slant towards Bruce not adopting Dick earlier than that because I AM aware that in terms of canon, it wasn’t really an option before that point due to the writers’ own cultural norms informing their character choices.

But once the writing introduced that angle and element...it became fair game in my opinion to question why Bruce would wait so long before acting on Dick’s pretty clearly expressed desire there...and yeah, I think its fair to have a bit of a judgmental eye towards Bruce character wise for still waiting so long when it could have changed so much for the better between them and spared Dick at least a few years of angsting and uncertainty about it.

All that said, when talking about fanfic deviations specifically, I think its entirely fair to consider character choices within the context of the fanfic as much as the original canon. So if a fic is already making significant departures from the canon events of Dick’s early years in order to write the author’s own take on Dick and Bruce’s early relationship....then in THAT context, specifically, regardless of what canon had to say about it and the behind the scenes reasons for that, its still valid IMO for characters or readers to wonder why in light of how much our cultural norms have shifted by now, why a fic about that time but written in the context of the modern day....like, IMO there Bruce doesn’t really have the same justification canon has for him not touching on Dick’s status as ward vs son earlier in Dick’s life.

If that makes sense?

Similarly in terms of recent years and canon, I think a TON of flip flopping and uncertainty in regards to how the Batboys’ relationships to Bruce are described or referenced is because DC or the various writers and editors just don’t like committing to the idea of Bruce Wayne: father of five (or six, depending on how one views Duke’s positioning in the family).

Like, I’ve long had the sense that a lot of the powers that be over at DC just flat out don’t LIKE Dick, Jason, Tim and Cassandra’s legal adopted status and wish none of them had ever happened as they for whatever reason think it takes something away from Bruce’s character or premise and they’d rather Damian be the sole actual son and heir. Hence having not only Damian emphasize the blood son thing but also having the other kids like, when talking to Damian refer to Bruce as YOUR father (which is a little thing that bugs the SHIT out of me, lmao)....as well as being as vague and ambivalent as possible when having Dick, Jason, Tim and Cass reference Bruce to others or address him and put as little focus on them using an actual label for their relationships to him as possible. And its not just New 52 I mean here, I think this was an issue still well before Flashpoint.

I’m almost certain if some of DC’s editors and writers had their way, those other adoptions would never have happened and their official status would just be wards/foster kids/proteges. Which is annoying not just because I’m a fan of the family being a FAMILY, like, purely on a personal fannish level....but also just in terms of narrative....I think its fucking stupid to try and play fast and loose with those relationships when everyone knows damn well that each of those kids being Bruce’s KIDS has nevertheless very much been a thing that happened and exists in most fans’ minds. Like, that’s not a genie you can ever put back in the bottle. There’s no realistic chance of getting readers to just en masse forget that any of those characters were ever officially and legally Bruce’s children at some point. Like, you did that, or at least writers before you did that, just accept it and USE IT instead of pointlessly muddying the waters to obscure relationships most of us view as father/child regardless of what canon has to say about it now.

So for example, in THAT case, I fully believe the confusion about the kids’ various legal status and their view of Bruce and his view of them...like, I honestly believe the ambiguity of that at various times in canon is deliberate. And also, dumb. Thus I don’t feel any need to take canon’s current vagueness into account because I feel there the behind the scenes motivations are extremely relevant...and thus I’m completely content to just ignore them and keep them all as Bruce’s children in legality and heart, via whatever story context makes the most sense for my purposes.

Another example of when I personally feel behind the scenes motivations are hugely relevant and should be kept in perspective...is Jason’s death. Because I’ve read a ton of stories and meta that sometimes victim blames Jason and treats it like his fault he died, sometimes makes it Dick’s fault for not being closer with him and someone Jason feasibly could have turned to instead of going to Ethiopia on his own, and sometimes Bruce’s fault for the division his judgment after the Garzonas case had forged between him and Jason and with that basically driving Jason to go to Ethiopia in the first place.

And like, I personally hate each and every one of those takes because I think its never going to lead anywhere good, upholding Jason himself or either of his immediate family members as being in any way at FAULT for his death and everything he went through after it....but also I don’t like emphasizing narrative or character blame on any or multiple of those characters because IMO it disregards the MOST crucial factor in Jason’s death: editorial mandate.

Like, they held a freaking phone poll for whether he should live or die. Jason’s fate was decided by call-in votes, NOT by ANY character’s actual choices or actions or even lack thereof. There was no way any of those characters could have been written making different choices that avoided Jason dying, because they were deliberately written making choices that smoothed the way to Jason dying because it was going to happen not because it was where the STORY inevitably led, or any of their choices inevitably led there....but because the editors WANTED it led there and to end up where it ultimately ended up.

IMO its pointless to point fingers at character choices when we KNOW for a FACT, like oftentimes we have to guess at writer motivations in order to have an opinion on that variable at all, but this is one of the rare occasions where we inarguably KNOW....it was going to happen one way or another because editorial decreed it had to happen. So I think its pretty pointless even in terms of meta analysis of the story and character motivations to ultimately point a finger at any of the character choices and assign blame for Jason’s death...when there was literally no chance of them ever being written making choices that allowed Jason to avoid dying.

Especially when you consider that literally the only narrative change that even needed to be made to avoid Jason dying, regardless of everything that led up to that point...is simply not having him die in the explosion. Come up with literally any explanation for a last minute save, escape or rescue. Like so many comics have managed so many other times.

Like, there are no rules with fanfic so obviously you can write fic of Jason’s death in any way, and make it the end result of any character choices you want and make it some character’s fault or not according to your own preferences and narrative choices....but in terms of canon events and choices, I think that’s one of the very rare stories where its both impossible and pointless to examine it on any level, without taking the behind the scenes context into consideration as well.

So like I said, it really just varies from story to story, depending on how much or how little writer or editor motivation, decisions or bias were likely to be a factor in any given story. *Shrugs* Thus for me, I don’t really see any way to go about that other than taking each story on a case by case basis.

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