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itsclydebitches · 1 year

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Oh, when I talked about flop era for Ted I meant for him as a person. I think he should have been a great coach and more involved with the team, I just also think that “my ex wife is dating OUR marriage counselor” is a big, giant bomb that cannot be resolved with positivity. Don’t get me wrong, I don’t want a “Ted finally snapped” plot line, but Michelle dating their therapist is such a huge betrayal that dropping it like they did is just… uhhh. It’s rushed and it doesn’t change Ted at all. But it would change most people.

And Michelle dating the counselor is not just a betrayal of Ted, it’s a dangerous situation that can get the counselor not just fired, but he can (and should) loose his license. It’s a big deal. If he wasn’t their counselor but say, Ted’s good friend or Michelle’s childhood best friend or something and they started dating behind Ted’s back? The resolve would be appropriate. Because it hurts but it is also none of Ted’s business. But the counselor…… it’s a very dramatic plot line and Ted did not react to it properly. And that’s just one of the examples of Ted having a hard time. I’d argue that he also needs to accept that he is in fact a good dad, even if he left, and that Henry is not suffering without him.

OH my mistake, anon. Yes, full agree on that. 95% of the time I think Ted Lasso does an excellent job of navigating hard-hitting issues, but there are two choices that made me do a shocked double-take: Rebecca dating Sam and Michelle dating their therapist. To be honest I'm not a huge fan of the writing choices themselves - I think it would have worked just as well/better to end the Rebecca and Sam situation at the restaurant reveal, highlighting the pitfalls of these anonymous dating apps, and Ted could have struggled with Michelle moving on with anyone appropriate - but if we HAD to have these conflicts... at least engage with those issues fully? As you say, this is a huge deal and the story really doesn't acknowledge that. It actually makes me a little mad that the takeaway message is, "Ted needs to let his ex-wife go" and not "Ted is rightly pissed that a professional he trusted and his ex-wife betrayed him like that and that anger is hindering his growth but damn, can you blame him?" Yes, Ted does need to let Michelle move on (and move on himself) but the ability to do that is highly influenced by the fact that she's DATING THEIR THERAPIST. The same way I wanted characters like Keeley to go, "Uh... Rebecca, age difference aside, should you really be dating one of your players?" instead of this blanket support that doesn't engage with the problems in that relationship, I wanted characters to support Ted with a, "Holy shit, that's massively fucked up and he's definitely in the wrong. Here's how you can move past this while still acknowledging the difficulties of that situation." Instead we jump straight to, "Jeez, Ted, stop making assumptions about Paris."

So yeah, I wanted more from that in pretty much every respect. More of a reaction from Ted, yes, but considering that we did kinda get an extreme reaction (wanting to hire a private detective) at least more of a reaction from the cast/the narrative and an acknowledgement of what Ted is reacting to: not just Michelle moving on, but moving on with him. Even if it doesn't lead to any punishment-like resolution (such as the removal of his license) I think everyone should acknowledge how fucked up that is. How does Michelle defend that choice? How does Jacob? Why is Beard only getting annoyed at Ted instead of showing that insane defensive streak we've seen from him? Everyone's up in arms over the assumption that Henry was bullied (horrible, but pretty standard for most kids at one point or another), but no one cares that Ted is going through that frankly insane situation? Why are they all acting like this is a totally normal case of an ex moving on??

WHY IS NO ONE ACKNOWLEDGING THAT TED WORKED SO HARD TO OVERCOME HIS BIAS AGAINST THERAPY AND NOW JACOB HAS GONE AND (from Ted's perspective) PROVEN HIM RIGHT? I personally would have liked an arc where Ted backslides in that regard. Shannon is less available now and her assistance is a distant memory in the face of this new conflict, Jacob has "proven" that therapists are useless and untrustworthy, and Ted is failing to move on specifically because he wonders if he and Michelle might have rebuilt their marriage without his involvement. I mean, how hard was he really trying while falling for his client? Did he actively sabotage them? After all, why would he have tried his hardest to help them through their problems when he wanted Michelle for himself? And now this man--both accurately and inaccurately built up as a villain in Ted's head--is encroaching on Henry, trying to "steal" the role of dad while Ted is over in London and can't do anything about it. (Because yeah, full agree about Ted being a great dad, but I think he'd need a reminder of that under these circumstances, especially after his own father's suicide).

Ugh yeah, I obviously have a lot of thoughts about that choice. Ted deserved to work through his divorce and Michelle moving on... but with a hell of a lot more nuance if you're going to introduce her new lover as their marriage counselor. The arc we got works fine for any other new boyfriend, but not that.

#Ted Lasso #mymetas

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pedrito-friskito · 2 years

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I’m still here - part ii - eddie munson x fem!reader

summary: you both try to power through the school year, and then the unthinkable happens.

warnings: fluff, brief smut (not super explicit but still - MDNI), mentions of canon-typical violence, yeah I took a lot of details and fucked em up and made it SADDER (nobody look at me)

a/n: I’m deep in my feels okay but for the sake of PLOT we must persevere.

| series masterlist | main masterlist | ao3 |

The time seems to drag slower, once you’re gone. It makes him anxious. Eddie pulls himself through the motions; out of bed each morning (usually on time), into the van, drive to school. For the first two weeks of classes, he’s good: he’s engaged, he’s paying attention, he’s even offering answers and turning in assignments on time. But as the heat of summer creeps away to give way to fall, and the memory of your summer together starts to fade, his attentiveness wanes.

Hellfire is a welcome distraction. Dungeons and Dragons has always been his safe place, ever since his mom got him a Player’s Handbook for Christmas, back when things were…better. It’s been his landing pad, a place to retreat and build himself back up when the world just wants to knock him down. He’s happy for the fresh meat, Henderson and Sinclair and the Wheeler kid, new faces to carry on the club when he’s gone, because, as he keeps reminding himself, this is gonna be his year.

The Cult of Vecna is a hit right from the start, and Eddie has never felt better than he does sitting on that throne.

(With the exception, of course, of when he’s with you.)

Weekly phone calls have been a tradition since you first left, and Eddie never misses a single one. He’s waiting beside Wayne’s old rotary phone every Tuesday night without fail, answering so fast he nearly drops the receiver every single time.

“Hey there, sweetheart,” he answers, grinning like an idiot to the sound of your happy laugh, “did ya miss me?”

“You ask me that every time, Eds,” you reply, and he can hear the smile in your tone, “and every time the answer is the same.”

“I know, but it’s just nice to hear.”

Another sputter of laughter. “Yes, you weirdo, I missed you.”

It’s the highlight of his week, every week, the pair of you talking well into the night most of the time. He tells you about Hellfire, fills you in on the last session and what he’s got planned for the next one. You return with stories of your own, your life on campus and whatever shenanigans you and your friends have gotten up to. He does his best to ignore the pang in his chest at the idea of you experiencing things without him. He wants to be there, beside you.

And you seem to pull the words right out of his head.

“I just wish you were here with me.”

“I do too, baby. I do too.”

You’re not expecting the knock at your door.

“Can you get that?” your roommate calls from the bathroom, busy getting ready for her date with one of the guys down the hall. “It’s probably Greg!”

Exhaling, you set your book down on your bed, making sure to mark the page you’re on as you get up and head for the door. It’s a good sized dorm, more than enough space for the two of you, even if your roommate is intent on claiming a little more than half. But you don’t really mind.

You push a hand through your hair as you reach for the knob, pulling Eddie’s flannel shirt tighter around your shoulders.

“Not Greg,” a familiar voice says as the door swings open and you squeak in surprise. “Hi, baby.”

You’re in his arms in an instant, hands gripping the back of his denim vest as tight as you possibly can. “What are you doing here?”

He hugs you back, looping his arms around your waist, locking his fingers together at the small of your back. “Had to see my girl,” he shrugs, lips quirking in a grin. “Ditched after lunch and got on the highway, I wasn’t gonna make it to Thanksgiving without seeing you.”

“Eddie,” you gripe, your tone chastising, smacking his shoulder as he leans in to plant a kiss on your cheek. “You ditched?”

“I did,” he replies, mouth moving down to your neck, “but it doesn’t matter, you wanna know why?”

“Why?”

“I got a B on that Algebra test.”

You inhale sharply as he sinks his teeth into your throat. “Y-you did?” You dig your fingers into his shoulders. “Eds, that’s amazing.” The last word hitches as he lets one hand dip and squeezes your ass through your sleep shorts. Your voice drops. “My roommate is here.”

As if on cue, she steps out of your bathroom. Eddie’s head snaps up, yanking his hands from you and sticking them behind his back while you try to will the heat from your face. She just grins. “You must be Eddie.”

“Guilty.”

Winking at you, she snags her jacket off her bed and brushes past you both. “You kids have fun, I won’t be home tonight!”

As soon as she’s out of sight, Eddie pushes the door shut, leaning against it and tilting his head back. Everything in you goes tight, watching his throat bob as he watches you. He’s here, in Chicago, standing in your dorm room.

Your suddenly very empty dorm room.

Silently, you reach towards him, moving your hand to the side at the last minute and flicking the lock on the door. Eddie just watches, dark eyes tracking your movements as you curl your fingers around his wrist and tug, walking back across the dorm to your bed, pushing until he sinks onto the edge of it. His legs spread wide and you step between his knees, sighing into his grip as he reaches for your hips. It’s familiar and warm and comforting, and you take his face in your hands, tilting his head back, brushing the stray curls from his cheeks and dragging your knuckles along his jaw.

“You’re here.”

“I am.”

He gives you a little smirk, just a flash of white teeth before you’re kissing him, soft and slow and everything you’ve been dreaming about since the day you left.

It’s much slower. The drag of fabric against skin, your clothes piling on the floor. You settle yourself in his lap, letting him dive into the deepest parts of you, touching nerves that only seem to come to life when you’re with him. It sends shocks of electricity down your spine as he touches you, hands spanning your back, kisses pressed to your shoulder as you ride him. You can feel the cool metal of his rings, leaving indents in your skin. He bites at the chain around your neck, his ring dangling between your breasts.

“Tell me how it feels,” you murmur to him, tossing your head back when he bites at your nipple.

“Feels like home,” he replies almost instantly, arms tightening around you, slithering around your waist and pulling you close as possible.

Afterwards, you lie in bed together, Eddie on his back, you on your front. You let your hand wander his chest, tracing over his tattoos and down his stomach, trailing through the fine hairs that ride south. “Do you want the good news or the bad news first?”

“Bad news,” he says almost instantly. “Bad news first, always.”

“I can’t come home for Thanksgiving. They changed my exam schedule.”

He groans, tossing his head back and squeezing his eyes shut. “Nooooooooo.”

“I know, I know,” you say, pulling yourself onto his chest, dropping a kiss to the ink over his heart, “but that’s the bad news. Good news is I get an extra week at Christmas.”

Eddie cracks an eye open, peering down at you. “Well, that is good news.” He drags his fingers down your spine, hand flattening at the small of your back. “What do you say to making a guest appearance at Hellfire, then? The holiday edition.”

You return his slowly widening grin. “Deal.”

Fall fades into winter and soon enough, it’s Christmas, the snow arriving right on cue, big fluffy flakes that coat the streets and do their best to add to the whole wintry feeling. Eddie’s never been one for winter, much preferring the mildness of fall and the warmth of summer to the biting cold. But, the arrival of the snow means he’s that much closer to having you back again, and that makes it all worth it.

He plans the holiday Hellfire session for weeks, spending hours with you on the phone, drawing up a character sheet and explaining the rules of your chosen class and race. You’re no newbie, having listened to him plan sessions and campaigns for upcoming club years as long as you’ve been together, but he can still hear the waver of apprehension in your voice. He sees it on your face when you show up at the trailer the night of the session, the cold biting your cheeks bright red and your lip chewed to hell.

“What if they don’t like me?”

“Pfft,” he scoffs, gathering his books from where they’re scattered around his room, nabbing a few rolled joints and his lighter, popping a kiss to your cheek when he walks past you. “We built you the coolest character ever, and you’re gonna rock this, I know it. They’re going to love you, Dustin especially.”

Sure enough, by the end of the session, after a handful of natural 20s and some Eddie-guided manoeuvres, you have a new friend.

“Eddie, holy shit, your girlfriend is cool!”

Dustin talks your ear off for the rest of the night, and Eddie just watches from his throne, beaming at the pair of you. Everything is as it should be.

You have family dinners out of town on Christmas Eve and Day, so Eddie steals some of your time the day before, asking you over to his place for your own version of Christmas dinner (Spaghetti-os and a stolen six-pack) and gift exchange.

You show up with a suspiciously large, long package, wrapped in Santa Clause-patterned paper and a red bow on top.

“What the hell is that?” he asks as you lug it through the trailer door. Wayne is gone for the night, having picked up a few extra holiday shifts for the overtime pay, so it’s just the two of you, as usual. “That better not be what I think it is.”

Your chest is heaving as you set the present down, straightening and leaning in to kiss his mouth, which he returns half-heartedly, eyeing you. “Depends what you think it is.” He just stares at you for a moment before his eyes dart back to the present. “Go on, open it.”

He feels like a little kid, dropping to his knees and ripping into the paper as you shrug out of your winter clothes and settle onto the edge of the couch. There’s a lot of paper, and you laugh when he makes a show of putting the bow atop his mop of hair, continuing to claw at the wrapping.

The black case is immaculate, the leather shining in the dim light coming from the lamps, and Eddie sucks in a breath as he runs his hands across it, reaching for the latches.

He’s never seen such a beautiful instrument in his life.

Stuttering out words, he covers his mouth with his hand. There are actual tears in his eyes, and he just stares at the guitar, the silver frets and the strings, the red and black body, angular and perfect. You did this? For him?

“Do you like it?” he hears you ask, and his head snaps up, wet eyes landing on your wide ones. “Oh my god, Eddie.”

“I love it,” he breathes, clambering up onto his knees and closing the distance between you two. He slides between your legs, wrapping his arms around your middle and pulling you as close as he possibly can, pushing his face into your collar. He can’t believe this; he can’t believe you. “I love you.”

He feels the stutter in your chest, feels your hands stroking his hair. “I love you too, Eds.”

It’s a good few minutes before he pulls back, disentangles himself from you and wipes the wet from his cheeks. “How did you even…?”

“My dad got it at some work auction thing,” you explain, waving your hand, “and he doesn’t even play guitar. He was a little reluctant to hand it over, but I’ve been working a lot at the pizza place in Chicago so I told him I’d buy it from him and I—”

He cuts you off with a kiss, swallowing your words, and then gets to his feet. “Wait here.” You’re in the same place when he returns a moment later, a box in his hands, the same bow that he’d stuck in his hair on top of it. It’s wrapped in newspaper, and he hands it to you sheepishly. “We didn’t have any wrapping paper.”

“It’s perfect,” you say, grinning up at him. You tear into it just as enthusiastically as he had, and he wishes he could listen to the noise that comes out of your mouth on a loop for the rest of his life. “Eddie.”

“It’s not much,” he shrugs, hiding behind a piece of hair. “I wasn’t expecting…” He gestures to the guitar. “That.”

Inside the box lies a few of his t-shirts, the flannel he stole back from you when he visited back in the fall, a handful of rolled joints accompanied by a bright red lighter he carved little hearts into, and a cassette tape.

“Queen!” you shout, grabbing the tape excitedly. “Yes!”

Eddie grins. “That’s the one you were looking for, right?” You nod enthusiastically and his grin widens. He gestures to the t-shirts and the joints and the lighter, rubbing the back of his neck. “I slept in those shirts, so they smell like me, I guess. And then, y’know, a little something to take the edge off.”

“You know me too well, Eddie Munson,” you smile, absolutely beaming at him. “Now play me something!”

New Years finds you back in the trailer, drunk on cheap champagne, your lips swollen from Eddie’s attention. It’s a quiet night, but you’re happy for it, the trailer filled with the sounds of Eddie’s guitar, Metallica and Iron Maiden. He even plays Love of my Life by Queen just because he knows it’s your favourite.

When you leave to head back the second week of January, it feels like the hardest departure yet. You can’t put your finger on it, but something just hurts, aches in your chest, that magnetism you’ve always felt towards Eddie doubled, tripled even. It hangs around in the back of your mind, dark tendrils gripping your heart like a vice, and not even Eddie’s sweet words or intense affection seem to help.

“Everything is gonna be fine, baby,” he croons to you, pushing his hands through your hair over and over, holding it in a makeshift ponytail between his fingers and leaning in to kiss your mouth. “Just wait. You come home for spring break and we’re gonna have the best time, okay?”Another kiss. “Don’t worry, all right?” Another. “I love you.” It’s sing-songed, an effort to get you to smile, but you just push your bottom lip out, making a small noise when he kisses it.

Still pouting, you push your face into his chest, unable to shake the feeling, inhaling the familiar scent of him as deeply as you possibly can. “Love you too, Eds.”

Eddie honestly cannot believe this is happening.

The last few days have been a blur, a mind-numbing swirl of blood and gore and terror and fear, fear so thick it’s made a permanent residence in the back of Eddie’s throat, making his pulse race anytime he hears a noise besides his own heartbeat. Sure, it’s all been explained to him, but it doesn’t make it better.

He has a lot of time to think, hiding in the dock house. To mull over the situation, how he’s living up to the Munson name, on the run like this. Making dear old dad proud or some shit. It makes his stomach turn.

At this rate, he’s gonna miss your phone call Tuesday night, and somehow that makes him feel worse. He’s got half a mind to sneak back into the house so he can try and call you, explain what the hell is going on as soon as possible. But, knowing Reefer Rick, the phone bill hasn’t been paid in a decade, so it’s a moot point, and he stays put.

When Henderson and company show up with the news that he’s now wanted for murder, Eddie wants to disappear. He should have dropped out of school, should have followed you to Chicago when he still had the chance. Better yet, he should have listened to you back in September when you mentioned running away together. Then none of this would have happened.

He catches Dustin’s arm before they leave. “Hey, man, I need you to do something for me.” Dustin nods eagerly, brow furrowed with concern. “I need you to call my girl, okay? Tell her to stay in Chicago no matter what. Make her promise, all right?” Dustin just nods and Eddie squeezes his arm. “Tell her not to worry.” He rattles off your number, Dustin procuring a pen and scribbling the digits on his hand. “Thank you.”

“Of course, Eddie.”

“Hello?”

“Hi, this is Dustin Henderson? Eddie’s friend?”

You laugh into the phone. “I remember you, Dustin. I thought we were friends, too.”

He stutters out a little chuckle. “Oh, right. Yeah.” An awkward pause. “Listen. Eddie asked me to call you, and before I say anything else, he told me to tell you not to worry.”

Instantly, your heart climbs into your throat. “Dustin, what’s go—”

“Believe me when I tell you,” he cuts you off, “it’s better if I don’t tell you. Maybe I will someday, but in person, not over the phone like this.” The kid sounds nervous, his words rushed. “But Eddie asked me to call you, and he says to stay in Chicago, all right? No matter what, you stay in Chicago. Promise?”

Your brow furrows, anxiety clenching your gut, that unshakable feeling that had appeared when you left Hawkins after winter break reappearing. “I don’t like this, Dustin. Where is Eddie?”

“I can’t tell you that, it might not be safe. But he is. Safe, I mean.” He huffs. “Just, promise me you’ll stay in Chicago, please?”

You swallow hard. “Okay, okay. I promise.”

He knows he’s going.

It hurts — god, it fucking hurts — but he refuses to be afraid. He didn’t run, not this time. He bought them time, made a difference, helped save the world. And, if in some grand gesture, final I love you way, it means he saved you, then it’s enough. He doesn’t want to go, but it’s enough.

“I didn’t run away this time, right?” he tells Dustin, the words bloody and bitten through his teeth. Pain rumbles through him, stretching along his muscles and making his vision tinge black at the edges.

Dustin shakes his head, tears on his cheeks. “No, no, no, no, you didn’t run.”

Eddie forces himself to smile up at the kid. His friend. “I think it’s my year, Henderson.” His breath stutters and he can feel the blood in his lungs, the fire lit in his belly as the pain eats through. “I think it’s finally my year.” Somewhere, he thinks he grabs Dustin’s hand, but it’s hard to tell if he even moves. “I love you, man.”

Dustin sobs, eyes squeezing shut. “I love you, too.”

Eddie sucks down another breath, feeling it rattle through him, unwanted. “T-tell her, okay? Tell her what I did. Tell her how much I l-loved her.” He grabs Dustin’s eyes again. “I-I loved her so much, man.”

Dustin nods furiously, tears slipping down his cheeks. “I know you did. I’ll tell her. I’ll tell her everything.”

“G-good.”

He can taste the blood in his mouth, coppery and thick, and he can feel the tears pooling in his own eyes, slipping down his cheeks. Faintly, he thinks he hears Dustin call his name. The black takes over his vision, and the last thing on his mind is your smiling face.

Promises be damned, when the news announces an earthquake had rocked Hawkins, Indiana and killed twenty-two people, you’re on the highway in an instant, a hastily packed bag in the backseat and a scrawled note to your roommate. You try calling your parents before you leave, even try the Munson trailer and a few other friends, but all you get is dial tone. The earthquake must have pulled the phone lines down; it’s no use.

Your parents are both relieved and upset to have you home. They’re packing what they can, desperate to get out of town, heading for your grandparents house a few hours outside of Hawkins. When you announce you’re going to see Eddie, they stop you in your tracks.

“Sweetheart, that’s not happening.”

When they tell you what you’ve missed, that Eddie was wanted for murder and has been missing since the night Chrissy Cunningham was killed, you’re at a loss for words. You can’t believe it. There’s no way. And coupled with Dustin’s warning, it makes less and less sense. He couldn’t. Eddie would never.

Refusing to let you leave for the rest of the night, you wait it out until morning, hiding in your room and mulling it all over, chewing your lips bloody and trying to will away that dark feeling still looming. You can’t believe what they’re telling you, what they’re saying he is. There’s just no way.

Eddie wouldn’t. He would never. Not your Eds.

The next morning, your parents are telling you to pack your things back into the car, but you refuse.

“No. I’m going to find him. I don’t care what they’re saying he’s done, what you think of him. He didn’t kill her. I know it. He’s not like that.”

Before they can get a word out, you’re darting out the door, car keys in hand.

You’re definitely not expecting to come face to face with Steve Harrington, jogging up your front porch. You were never friends with Steve in school, him being a year below you, but you knew who he was. The Hair. You’d attended a few of the same parties, said maybe a total of ten words to each other in passing. But he’s Steve. Everybody knows Steve.

“Hey,” he says, his tone soft, hands shoved in his back pockets. “I don’t know if you remember me from school, but I…” He trails off, meeting your eyes and then looking away, brows raising. “You’re Eddie Munson’s girlfriend.”

Slowly, you nod.

“Uh,” he mumbles, rubbing the back of his neck and staring at his feet. “Shit, I don’t know why Henderson thought I could do this better than him.”

You cross your arms over your chest. “Dustin sent you?”

Steve lifts his head, and you don’t miss that his eyes are shiny, a blush rising in his cheeks. “Yeah, I…Dustin, he’s pretty shaken up, and he asked me to come.”

You raise a brow. “What’s this about, Steve?”

He pulls his hands from his pockets, reaches out and touches your shoulder lightly. His jaw twitches, mouth trying to form the words. “It’s…” He shakes his head, blows out a breath. “It’s about Eddie.”

“I’m going to find him,” you say, tired of whatever is happening right now, moving out from under his grip and heading for your car. “I know that whatever they’re saying about him on the news is bullshit.”

Steve calls your name again. It makes you stop in your tracks to hear the waver in his voice. “You won’t find him.”

Slowly, you turn back, keys dangling from your fingers. “What are you saying?”

You think you know, the feeling of dread turning to a lead weight in your stomach, all the blood rushing from your limbs, your head going light and woozy.

No.

“He’s gone.”

You shake your head, tears springing instantly, and point your finger in Steve’s chest as he steps closer to you. “No. You’re lying.”

“I wish I wasn’t,” Steve says, stuttering out your name and curling a hand around your forearm.

“You have to say it,” you bite out, trying to wrench out of his grasp. “I’m not gonna believe it unless you say it.”

“He’s gone,” Steve says again, his voice thicker now. “Eddie died.”

The dread doubles, triples, and you collapse. Steve’s there to catch you as you fall.

—————

I have a taglist! if you’d like to be tagged in future works, please fill out this form!💕 (and it’s been updated to include eddie/steve/hopper/stranger things fics!)

tags (if you liked the first part lol): @peterparkers-girlfriend @ruhro7 @steadyasthe-flowers @pedropascalsx @saintmurd0ck @pintsizemama @charliecoccix @a-hopeless-fan @mindidjarin @ghosttownwherenoonegoes @1800-fight-me @simple-lovebot @itwasthereaminuteago @quadruplescorpio @eddiesloversstuff @effinhell @indulginginmydailydoseofdepresso @dazedrhapsody @deliciousdreamlandlady @pandawithprobs @ajokeformur-ray

eddie tags: @trickstersp8 @nightthou @bluestuesday

#eddie munson #eddie munson fluff #eddie munson angst #eddie munson smut #eddie munson oneshot #eddie munson x reader #eddie munson imagine #eddie stranger things #eddie munson x you #stranger things #my fics #i’m still here #eddie munson x fem!reader smut

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flamingtunapictures · 4 months

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Honest "Death’s Door" Review - *7/10*

Tl:dr - A good game that delivers a challenging and polished souls-like gaming experience, however its choices in story/world building; repetitive dungeon structure; and lack of simple navigational tools detracted from a thoroughly enjoyable adventure for me.

The Good Things About Death’s Door

Overall Presentation - A clean, polished game with well developed systems and beautiful art. Combat is challenging but not impossible, and visual style is graphic and engaging without being too juvenile. Characters are fun with a good balance of gritty and whimsy.

Music - Wonderful soundtrack. Each area boasts a variety of fun thematic instruments. I found tunes and arrangements very reminiscent to Okami.

Gameplay - Challenging combat that rewards patience, with a variety of ranged and melee weapons a player can interchange fluently in battle to fit their personal fighting style. Puzzles are balanced, never crossing into so-hard-lose-interest territory. The game can be 100%-ed in a reasonable time without guides if one chooses to do so.

Despite my initial impression, the shrines were also fun riddles to solve. I loved the local pub's “hearsay” method with “Jefferson” at the Sunken Sailor. It was a fun touch of flavor and helped make the shrines feel tangible.

3 major criticisms for Death’s Door

(-.5 point) Game progression is extremely linear and dungeon structure lacks core differentiation. Each dungeon’s objectives are structured the same way: you explore an area and fight through mini-boss rooms to free 5 crow souls. These unlock the next power upgrade via almost identical combat challenges. This is followed immediately by ascension to the final stage of a dungeon; concluding with the boss fight. While each dungeon offered their own unique puzzles and layouts, the lack of variety in objectives started to feel more like a checklist than an exciting opportunity for discovery. It’s worth noting as well, the game is linear (Urn Witch > Frog King > Betty) as each previous level provides you with a necessary upgrade to access the next challenge.

(-1.5 points) The lack of a map made the experience of exploring vast areas (extremely) frustrating. This frustration was exacerbated in the world-scouring post game collect-a-thon. The fact that a map was not even an option was incredibly infuriating to me. I understand the creators of the game declared their creative choice “promoted as organic of a gaming experience as possible,” and aligned themselves further with the “souls-like” label, however it does not feel like an infallible decision. Take Hollow Knight as a compare and contrast. Maps were provided throughout the game but the player was also given the choice of how much they wanted to engage with, or take advantage of the map. Maps had to be purchased, making it entirely possible for a player to forgo it completely if they chose to do so. There was also a balanced trade-off of forfeiting an equipment slot to attach the Wayward Compass charm for effective use of the map. Death’s Door doesn’t even give you the option.

(-1 point) The game’s narrative feels a little hollow, lacking in any commendable character depth or motivation. Essential world lore is also delivered too late, is confusing, and detracts from the drama’s overall impact. I finished the game feeling underwhelmed by the plot despite the game’s (self)positioning as a prolific drama. (Spoiler Alert)

I found myself floundering to feel anything for the final act, or to really make sense of the world’s logic and lore between the end of act 2 and beginning of act 3. From what I understand (having 100%-ed the game) the world, since coming under the rule of the current Lord Of Doors, became a place of stagnation… Most, if not all (?) creatures were living unreasonably long lives (past their “due dates”) because the Lord of Doors cut off death itself from the worlds, and subsequently the Crow Commission (who had assumed Death’s role of reaping souls). With no no one reaping souls, nobody was actually dying? But then why was the Grey Crow aging with the threat of death looming over him? Or why did all the crows who got cut off from the commission die? Or how were the free-crow’s movement for that matter, that promoted the natural order of embracing death, actually fulfilling their own creed? I should not be this confused or have this many questions at the explanation of the state-of-the-world after playing the game for 20 hours.

Secondly, many of the significant “reveals” in the 3rd act felt rather underwhelming. Starting with the “Free Crows” movement (a tropey rebel group that “fights the system”). Their presence and justification provided almost all the context to the world’s supposed stagnation. Thus, their late-game reveal (almost the end of act 2) caused me to completely reevaluate and question if I had understood anything from the soft world-building up to that point, and not in a good way. Their motivations felt rather generic as well, and lacked any kind of originality or robustness. Additionally, the pacing between defeating the Grey Crow and the sudden “call-to-arms” from the Free Crows felt very jarring and like the story was just trying to quickly wrap things up. It did not feel very justified.

Death’s reveal was equally underwhelming. His reveal should have felt like a reward for the arduous efforts it took to open his door. His reveal should have left me feeling like I finally had answers… but because I was not aware the world was supposedly “stagnated” (?) until moments before I encountered him, his presence felt confusing, and a little insignificant to me.

As for the final two bosses, the Grey Crow and the Lord of Doors, another reviewer captured the narrative's failure best: It felt like the story was telling me to care about these characters more than actually giving me substantial experience with them to want to care about them. I found myself not caring about the final boss’ motivations and just wanted to finish the game.

All these things considered, it really boils down to me not finding the lore of this game’s world particularly compelling.

Even the “truth” revealed after completing the post game did not feel like it added any significant detail or insight into the story. For how much effort it demanded to unlock, it was another narrative disappointment.

One exception exists however with the Gravedigger. He was by far the most compelling character. His sad story was the only one that drew an actual reaction from me when I realized just who “Monty” was (hint, look at the shiny-thing locket you find). His final battle was the most satisfying and his emotional departure felt wonderfully delivered.

In conclusion, Death’s Door is a quick (10-20 hours, including post-game) adventure challenge that offers a polished gaming experience, pleasant visuals, and catchy soundtrack. Combat will leave you gnashing your teeth if you don’t employ a little patience, solidifying its position as a “souls-like” game. I would definitely say it’s worth your time if you enjoy games like that. If you’re looking for a more compelling world-lore, convicting story or just better navigation support however, I would recommend something like Hollow Knight instead.

#deathsdoor #death's door #gamereview #nintendoswitch

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fabiansociety · 1 year

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yakuza kiwami’s majima everywhere system is the best mechanical implementation of a romance system i’ve ever encountered in a video game

wait, that needs a little context, let me back up.

romances in video games—ones with some kind of systemic element, rather than the ones that are purely a function of a cutscene narrative—tend to follow the same arc as a final boss: an early encounter establishes the romance, regular conversations at the beginning or end of a mission deepen the emotional connection without consummating it, culminating in a final physical climax at the end of the game. in both instances, the relationship functionally ends with the consummation: romances make sex the final reward for correctly completing assorted conversations and subquests, antagonist relations make fighting and defeating the villain the end of the story: commander shepard goes to bed with their lover right before the final push to the end of the game, saren slips away after every story beat until the final fight. it’s a very transactional view of relationships: conversation and quests go in, sex or violence comes out, like an emotional vending machine.

but that’s not how real relationships work, is it. declarations of love or knockin’ boots are the START of a long term relationship, not the end of one. there are layers and layers left to a person once you get past the dating phase, and highs and lows, ruptures and reconciliations that can span years and decades. it’s not that there aren’t any games that look at the long second act of a relationship, but most games that do so relegate those stories to cutscenes or otherwise scripted segments, or focus on the day to day maintenance of a physical relationship.

and so: majima everywhere. in yakuza kiwami, majima goro, the mad dog of shimano, is a crazed yakuza with a consuming passion for the game’s protagonist kiryu kazuma. he loves nothing more than fighting him, will except nothing less than a rumble. in many games—including the original version of yakuza 1—this homoerotic combativeness would consist of a handful of cutscenes and a final plot relevant fight, but yakuza kiwami instead makes majima a full nemesis, who can appear at any time from any place, thundering down from the arch of a gate or rising in gleeful fury from a manhole to call kiryu out.

it’s a brilliant system for making the player invest in the relationship, and one that escalates without withholding: majima isn’t a climactic fight, he’s the daily pulse of combat, the water in which you swim, the ghost haunting kamorocho. it’s a model that could be adapted easily enough to less subtextual or combative romantic relationships — make the love interest a load bearing part of the game’s mechanics, tie mechanical progression to engagement, not just narrative progression—the model is there. more games should steal that model; it’d be a healthier art form for it.

#yakuza kiwami #mass effect #romance #mechanics

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babygray-dam · 1 year

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Here’s the new shows I’ve been watching this season, ranked by how hard I think the opening song slaps.

Urusei Yatsura: A new fast-paced adaptation of Rumiko Takahashi’s comedy about an invader girl and a luckless loser. Up to this year, I’ve only watched Beautiful Dreamer. On the Sci-Fi Channel. 20 years ago. So I’m excited to see Lum’s charm in action. Part of me is worried younger weebs might not like it; Urusei Yatsura was so influential, and there’s been so many imitators over the years, that they might see it as just another will-they-won’t-they, violence-as-a-punchline romcom. But what should I care about what the whippernappers say. The pretty girl in the tiger bikini is on.

Akiba Maid War: It’s 1999, and Nagomi has come to Akihabara to achieve her dream of working at a maid cafe, but there’s more to maids than adorable charm. Watching cute girls doing ultraviolent things is always popular, and putting the tried-and-true world of yakuza stories and characters in a maid cafe setting is not a bad idea. The juxtaposition is interesting enough, and the quirky characters got me eager for more.

Mobile Suit Gundam: The Witch From Mercury: A young girl enters an elite school and ends up engaged to the garden-tending daughter of the school’s chairman after winning a duel against the arrogant fiance. There’s even a cute baddie named Chuchu. Yes, yes, Gundam Utena. That was the reason why I started watching it. I keep watching it because of the stunning visuals and the darker elements peeking out of the current plot about shy Suletta navigating the unfamiliar waters of mecha high school.

Blue Lock: 300 of Japan’s most promising high school soccer players enter the prison-like Blue Lock and take part in an intense, cutthroat training program designed to create the best striker in the world. I was so filled with the desire for more, I pretty much devoured the manga while waiting for the third episode. As a sport story, it’s especially crunchy. I knew I was in for a really good time when the prince-like good guy is blackened within the first episode.

I'm the Villainess, So I'm Taming the Final Boss: A girl transmigrates into the body of an otome game villainess, and, in order to survive the endgame, decides to tame the final boss to keep him from transforming into a monster and killing her. Instead of reforming her “villainess” persona, she embraces it and uses cunning and charm to achieve her goals. I watched a couple similar shows while waiting for the next episode, but My Next Life as a Villainess: All Routes Lead to Doom!, while cute, doesn’t have the same bite and got boring after a while, and Trapped in a Dating Sim: The World of Otome Games Is Tough for Mobs is disposable male power fantasy garbage that became offensive to me once I read some spoilers about the main character’s pre-transmigration life. Give me the hijinks of a proactive villainess any day.

#urusei yatsura #mobile suit gundam the witch from mercury #akiba maid sensou #akiba maid war #i'm the villainess so i'm taming the final boss #blue lock #flashing gif #blood #the ed of akiba maid war is gangster melodrama and i love it #the song ranking was close for the first two #the urusei yatsura op makes me dance #the akiba maid war op gets me hyped.

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ultraericthered · 1 year

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Anime Update V2 45

Wolf’s Rain - It was the series faux-nale this week and while yes, I greatly enjoyed these as episodes, the story really didn’t come to anything even close to resembling a satisfying ending. A lot of plot points did have to come to their ending points, though, and that’s where you start to notice how much was getting rushed here. The whole thing with Hige apparently being some sort of villainous traitor to his own kind who just got amnesia had me confused. After all the tense build-up, Jagaura’s false Paradise fell apart ridiculously quickly and easily. And the show had to juggle Kiba saving Cheza, Hige reuniting with Toboe and Tsume, Blue reuniting with Quent and telling him the truth of what befell his home and family (surprisingly the one part that had me tearing up!), Cher reuniting with Hubb (which was the very last minute thing here), and not only Jaguara’s demise, but even the return of Lord Darcia and the reveal of Jaguara as the late Harmona’s envious, entitled incel of an older twin sister. It was all done well for the most part, but I was left feeling a bit underwhelmed. Fortunately, the story doesn’t end here. The true Paradise still awaits!

Hunter x Hunter - Not only did Genthru continue to showcase how scheming and scary he is, but we got hit with a lot of unexpected throwbacks and return appearances. Killua temporarily leaves Greed Island to go redeem his previous Hunter’s Exam failure by acing it at record speed, with familiar faces like Ponzu and Tonpa present when he does. Then we find out that the name of Chrollo Lucilfer has been entered into Greed Island as a player, leading to a call to Kurapika where we even see how Neon and her father are holding up (not very well in the latter’s case, as he fucking deserves!) And then the Spiders are met by the actual player using Chrollo’s name and info...HISOKA!? Methinks things are now getting way more interesting!

Fruits Basket - A far more engaging affair than last week since the focus was back on Yuki, and we got to know his Student Council buddies more as we watched him at work with them. Aside from the ones we met before, we’re also introduced to an Ami Kawashima-esque fake airhead voiced by Cherami Leigh and a less militant, more brunette Ayato Naoi voiced by Micah Solusod. And I gotta say, I really, really felt for poor Yuki here. The episode so nailed the feeling of what having to socialize with, collaborate with, and just put up with such irritating people like these is like, and then it took a sudden turn for serious drama in the final minutes as Yuki and Kakeru came to blows. It may bring him more agony, but at least Yuki’s learning and growing, and getting to better understand himself and others.

Date A Live S4 - And just like that, the Mukuro arc is over. I’d said before that I didn’t care much for Mukuro, but now after this I really, REALLY don’t care much for Mukuro. The backstory she got painted her in a light that makes her ridiculously unsympathetic compared to the backstories of other Spirits, and I might’ve at least gotten her better if the significance of her hair-styling by her sister and the following interaction with the sister’s friends had been adapted, but it wasn’t, so we instead just see Mukuro being uncomfortable, lonely and introverted among strangers before making the jump straight to clingy Spirit who wipes memories of friends and family. As such, the compassion and friendship she gets from Shido feels a bit unearned. You HAD a family, Mukuro, and YOU became the problem, not them.

Fate Zero - OK, I’d wanted to get this series finished at around this time, but then I reached Iskandr’s Last Ride. And I was gutted. How the fuck do I go on after seeing that? Waver and Rider were two of the best characters with one of the best relationships on the show, and this episode was EVERYTHING their story had been building to, embodying all that makes them so endearing and pure. Seeing the apotheosis of Waver and Rider’s friendship was enough on its own, but coupled with Waver’s talk with his not-grandpa and the sincerity of cordial respect and admiration between Rider and Gilgamesh of all people really fucking got to me too! Yes, Irisveil was essentially killed by Kirei, and Saber is engaged in battle with Kariya and Berserker (revealed to be none other than Sir Lancelot), and the Holy Grail is being forged, but for right now, none of that matters to me. The passing of the King of Conquerors requires silence and reflection.

Re:ZERO - So while continuing to work with Beatrice in trying to counter the mysterious evil shaman’s curse, Subaru works with extra effort to befried Ram & Rem and keep himself productive so that all of Roswaal’s Manor can think highly of him and he can distract himself from the anguish he’s been feeling. But the episode comes to its powerfully moving climax when Emilia is able to give comfort to Subaru and coax him into a sense of ease where he can at last get rest from all the overwork and mental derangement he’d been forcing himself through...leading to Subaru breaking down bawling and letting all of his emotions out, all of his fear and vulnerability over what he’s been through in several lives. It was a beautiful moment.

Symphogear G - Shit’s getting real now. Maria struggles with the truth that she’s not Fine’s reincarnation and might have to drop the facade soon, while Kirika questions the new power that’s awakened within her, and Hibiki just can’t bring herself to rest and retire from fighting evil now that she knows it could ultimately result in her end. Then during a meeting between Nastassja and Maria with some asshole American businessmen, Dr. Ver summons hordes upon hordes of Noise with his cane, and this goes down where Hibiki and Miku are as well. We get some heroics from Maria on her end while on Hibiki’s, she, like the fool she is, goes back into her Symphogear mode in mid-free fall...and then Miku gets blown up. What? MIKU!!!

MAR - First up for the current round was Snow VS some ugly bitch who I guess is supposed to represent Hansel and Gretel AND the witch from that fairy tale and who for some reason deems Snow to be ugly rather than herself. Yeah. Was not a fan of this whole affair, but I do appreciate Snow getting another win, and the way she did so.

Gintama - The one where the Odd Jobs Gin trio, Otae, and the Shinsengumi all work together to catch an old perverted panty thief. A very trite and ridiculous set-up that this series made legit hilarious. The running gag with the land mines going off slayed me every time!

Code Geass R2 - At long last, I got to re-watching this premiere episode of this trainwreck. It was honestly as bad as I remember, if not worse. The opening minutes were painful - Lelouch is just suddenly back attending Asford Academy and is now the Student Council VP who acts very different from how he’d ever been before, Viletta is there for some reason, Rolo now replaces Nunnally as Lelouch’s younger sibling, and we’re hit over the head with this “Things are all swell in these character’s world! Ain’t that Lelouch such a rascal? Oooh and giant mechs and soldiers and terrorists and explosions, so cool!” tone that just took me out of it. And following this lame set-up with Kallen as an undercover bunny girl at a casino where Lelouch plays chess with some Britannian asshole and there’s cringeworthy dialogue (”You filthy lying adult!”), even Lelouch getting his full memory restored ends up feeling anticlimactic and saddled with hamfisted dialogue, and the scene at the end re-introducing Suzaku as a villainous agent of the Emperor is as maddening as it is rushed. The only parts that worked were the re-introduction of C.C and the exact moment where the real Lelouch reawakens and proceeds to be his bastardly self. Everything else just gave me the overall impression that this is going to suck. Which...yeah, I know.

AND

The Tale of Princess Kaguya - Not many words can convey this film accurately. Only feelings and a mind haunted by the experience. And also some childhood trauma memories about a Sesame Street special that featured this same folktale this film’s based on. For reals.

#Anime Update V2 #Anime Update

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articianne · 1 year

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Where should I start if i want to get I to the fire emblem series?

this is going to be a pretty biased answer, so... im sorry in advance! this is also a long one, so I'm putting them under a cut.

u have a fair number of options here. All of the ones I'm recommending released in the last decade, mostly because games older than that are NOT friendly to new players due to their difficulty. once u get used to the combat, then 100% some of the older games are fantastic to get into.

ill put them in order of my recommendation, including the new release of engage! i have vastly different reasons for why i may recommend each one.

1) awakening

this one is the beginning of the more "social" games, i.e. the horny chess stuff (cough dating sim). i think this one is the one that's recommended as a "Start Here!" game the most, and for good reason! i absolutely love it for what it is, and it has a good balance of combat, story, and the matchmaking stuff. i recommend this first to anyone who heard of fire emblem's social mechanics and, as a result, wants to dive in. it also has lore that goes back to the very beginning of fire emblem to FE 1. not much, but it does. from here, u can go back and do older games, or keep going and play the newer ones. Either way u'll be happy with the gameplay choices they added in the last decade or u'll enjoy harder combat from before then. this is my 2nd or 3rd favorite FE game!!

2) engage

i am really surprised i'm able to say this game considering it just came out, but it honestly is a really good place to start, unless downgrading in graphics is a big issue. i honestly have nearly no issues with this one—granted I'm not done with it but it's got a bit of romance for the protag, a tone in the story similar to 80% of the other games, REALLY FUN COMBAT, and somehow literally every other protag in the series without spoiling things for other games.

it is also VERY cheesy, maybe even more than normal, and the plot is fairly predictable (as far as I can tell). but cheese is a mainstay in FE games. if that's not up ur alley, prepare to either cringe or relish in anime. i fucking love it lmao

the only complaint i have, and this is literally my only complaint so i am truly nitpicking, is that for some reason like 20% of the girls in this game have vtuber hair that goes down to their ankles, and i don't know why. I don't know why this was a style choice, or if there's a plot reason, or whatever, but a lot of them have it. I don't even have a problem with "toothpaste pepsi mc" anymore. m!Alear is WILDLY endearing to me, but f!Alear's hair is so fucking long. i just. How.

3) shadows of valentia

im probably an outlier in recommending this, but i swear i have a good reason. this is the newest "classic" game because it's a remake of FE 2—i.e. if u don't care about matchmaking or having the protag marry someone of ur choosing, or if u simply wanna get a taste for the older style of games first before going to the games with more stuff to do, then i recommend this one. The story is fantastic, it's fully voice acted with some of THE BEST acting (and also music) I've honestly ever heard. but i am definitely biased since this is my favorite FE game and one of my fav games of all time. however, it really is just combat and story, with a few spare support conversations between characters for the sake of stat boosts (all the romance is canon within the story—can't change a bit about that).

4) three houses

this is the last one out of the "play this first" i'll recommend, because ill be honest, I'm not a fan of 3h's gameplay. I do like many of the characters, I think the serious tone of the game is great, but the gameplay really soured a lot of it for me. There's a calendar system that steamrolls the story so ur mostly just there for the ride as the hours clock by. As well as that, many of the combat skills that other games share with each other aren't a thing in this one, so combat mechanics can be a hard shift going from this game to anything else.

that being said, this is a great place to start if u want a game that will introduce u to the strategy mechanic that also isn't campy, cheesy, filled with anime tropes, whatever. the game is serious, with different routes and loads of choices for matchmaking galore. the only caveat is literally no other game in the franchise is like this. many of the other games are about light & dark and our friends make us strong and My Whole Personality Is About This One Thing. which i personally LOVE. but if that isn't for u, i would start with 3h, get used to the gameplay, warm up to the idea of campiness. and if u still think it's not for u, then great, u played 3 houses and probably enjoyed it a lot and u can wait until a new game comes out that may match the tone.

hope this helped!

#reply #anon

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abhinavuhblog · 4 months

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Digital Media: Sources & Significance

Academic Blog

Academic Blog Post #01

I would like to use the theory we’ve learned about emotion and affect to examine how movies can be affective and how it evoke emotions in audience. So I chose one of my favorite movie, “Hachiko: A Dog’s Tale” as an example to explain the theory of Affect.

Plot

The movie is based on true story of a most loyal dog in Japan. The film exhibits the tale of Hachi’s lifelong devotion to his master. The story begins when college professor Parker Wilson (Richard Gere) finds an abandoned dog at a train station and out of the goodness of his heart, takes the dogs home. Unable to find the dog’s owner, Parker and her family eventually adopted the dog. Overtime, the two formed an inseparable bond and went on adventures together. Hachi has made a habit of walking the professor to the station every morning and waiting for the professor’s train to arrive in the afternoon. Ten years after his master’s unexpected death, Hachi still waited devotedly for Parker at the train station every afternoon. The story conveys the deep relationship and commitment between a human and a pet. It clearly shows the value of respect between humans and between humans and their pets.

References

Hachiko: A movie review (no date). https://thepinoywanderer.blogspot.com/2012/04/hachiko-dogs-story-movie-review.html.

Academic Blog Post #02

For this blog, I would like to discuss about transmedia. For an example I chose my favorite game league of legends.

League of Legends is an incredibly popular video game worldwide, developed by Riot Games. It has garnered a massive following due to its captivating gameplay and strategic elements. The game revolves around a team-based competitive format, where players must employ tactics and take on their opponents with skill and precision. With its complex mechanics and fast-paced nature, League of Legends offers a challenging and exhilarating gaming experience.

In a typical match, two teams of five players each work together to destroy the enemy Nexus before the opposing team does the same to their Nexus. To enhance the gameplay, players can select from a vast pool of around 140 unique characters, known as champions. These champions possess their own distinct strengths, abilities, and personalities, allowing players to find a champion that suits their preferred playstyle.

Intriguingly, League of Legends extended its influence beyond the realm of gaming with the debut of its animated series called "Arcane" in 2021. Created by Alex Yee and Christian Linke, the show offers a captivating narrative that delves into the lives of two orphaned sisters who grow up together. However, their paths diverge as they mature, leading them to become bitter rivals. The series explores the consequences of their choices and the transformative power of circumstance.

To partake in the game, teams select different locations on Summoner's Rift, which is the main map utilized in League of Legends. This map serves as the battleground where teams compete against each other, vying for control and dominance. As the game progresses, players engage in various operations, such as battling computer-controlled minions, demolishing enemy turrets, and eliminating enemy champions. These actions yield gold rewards, which players can invest in empowering their champions, thus increasing their chances of controlling the game. Ultimately, the team that effectively exploits these advantages can push forward, overcome their opponents, and emerge victorious.

References

Arcane (TV Series 2021– ) ⭐ 9.0 | Animation, Action, Adventure (2021). https://www.imdb.com/title/tt11126994/

Walser, A. (2021) How is Arcane related to League of Legends — and what changed? https://collider.com/how-is-arcane-related-to-league-of-legends/.

Academic Blog Post #3

Realism in film focuses on the mundane aspects of everyday life and brings a “real” aspect of life to the screen. The images are generally static with little movement, and the camera tends to visualize the images. There is no art in the lighting and composition. The scenes are shot on location and not on custom sets. The films are edited for continuity rather than artistic effects to capture the attention of the audience. The music and soundtrack are particularly digestive (like when the characters visit the world in real time). Virtual reality advocates believe these guns are highly targeted.

An example for realism is the movie of Michael Radford’s The Merchant of Venice(2004), starred by Al Pacino. Especially in the opening sequence of the film, realistic techniques are used to transport viewers to “Venice, 1596” which is announced on screen.

There are no graphic devices ( like the television reporter in “Baz Luhrmann’s Romeo + Juliet). Several intertitles using a camera using film as a documentary lens in the installation shot describe historical cases of anti-semitism and long shots show monks preaching from a ‘Venetian Gondola’ with a christian cross blocking the Rialto able to see it in the right direction.

References

Realism – Screening Shakespeare (no date). https://screenshakespeare.org/theory/realism/#:~:text=Some%20realist%20filmmakers%20include%20Vittorio,2004)%2C%20starring%20Al%20Pacino.

Academic Blog Post #4

In the case of Narrative story telling, I would like to choose the game, Tomb Raider developed by Crystal Dynamics, Core Design & Eidos Montreal. The game has adapted from, “Lara Croft: Tomb Raider (2001) and Lara Croft : Tomb Raider – The Cradle of Life (2003).

Narrative is a choice of events to associate with and in sequence – so the narrative is the manifestation of a particular position or object, rather than the narrative itself being a simple way of remembering the difference between a novel and a novel between novels by changing the sequence of events . Another sequence of events means you have another version of the same story. Narrative transforms narrative into information, or better yet, knowledge for the recipient (viewer or reader). Each event is a knowledge search by the audience. The story is a paradox, because it seeks to conceal and reveal the truth. The storyteller arranges the sources of knowledge so that they are revealed in chronological order, suggesting that the truth behind the initial claims is elusive Such deliberate authorial intent creates a sense of mystery or oppression , the audience's desire to know what happens in the story and why It's reporting conflicts.

In case of the game Tomb Raider (2013), narrative is a masterclass in the use of the video games medium to create emotionally charged and character-driven experiences The game achieves a delicate balance between demanding gameplay and complex storytelling by Lara Croft's early narrative analysis upon. Breaking down the key elements that contribute to Tomb Raider's successful narrative, examines how the game deftly blends character development, environmental history, and player agency to provide a cohesive insight and it’s exciting about the effort that goes into such a game. We’ll discover storytelling techniques that elevate this game above just an action-adventure theme, add cheating landscapes alongside Lara and set it as a model for the art of interactive content.

References

Dherman, C. (2023) 'Tomb Raider — A case study in the design of game narrative,' Medium, 3 December. https://medium.com/@christopher_dherman/tomb-raider-a-case-study-in-the-design-of-game-narrative-06dc4669b404.

Academic Blog Post #5

The word Virtual Reality gives the feeling of near and reality what we experience as human beings. The term virtual reality is used to describe a three-dimensional, computer-generated environment that can be explored and interacted with. That person becomes part of this virtual world or participates in this environment and while there is capable of manipulating objects or performing a series of actions.

The virtual environment must provide relevant information – in real time- as the person explores their environment. Problems arise when there is a lag or delay between an individual’s actions and a system’s response that then disrupts their experience. The individual is aware that he or she is in an artificial environment and adapts his or her actions accordingly to result in sophisticated, mechanical interactions.

An example for virtual reality is the game known as “The Elder Scrolls V: Skyrim VR” which is the full-length open world game is from "Bethesda Game Studios". "Skyrim VR" reimagines the epic fantasy masterpiece in its entirety with unparalleled sensitivity to volume and depth of immersion.

References

PredCaliber (2022) Skyrim VR in 2022 is not just a game anymore... it is everything you always wanted it to be! https://www.youtube.com/watch?v=rLuZ7C58wSg.

Academic Blog Post #6

From what we’ve learned about Culture, I would like to analyze the Race and Cultural representation in “Walt Disney’s Moana”.

Plot

An adventurous teenager named Moana sets sail on a daring mission to save her people from a perilous threat that looms over their island. Filled with determination and courage, she embarks on a treacherous journey across the vast ocean, encountering perilous challenges and breathtaking scenery along the way. It is during this extraordinary quest that Moana encounters the once-mighty demigod Maui, a charismatic and mischievous figure. With his help and guidance, Moana learns the art of way-finding, a skill passed down through generations, transforming her into a master navigator capable of charting a course through the unknown. Together, they navigate through treacherous waters, facing gigantic sea creatures and overcoming seemingly insurmountable obstacles. Yet amid their thrilling adventure, Moana begins to uncover the ancient secrets and wisdom of her ancestors, discovering the powerful connection she shares with her roots. As she delves deeper into her heritage, Moana also embarks on a journey of self-discovery, searching for her own identity and purpose in life. Through her determination, bravery, and unwavering spirit, Moana not only fulfills the ancient quest set forth by her ancestors but also finds a newfound sense of purpose, realizing that her greatest strength lies within herself.

Although Moana originates from the fictional island of Motunui some 3000 years ago, the story and culture of Moana is rooted in the real heritage and history of the Polynesian islands of Hawaii, Samoa, Tonga and Tahiti In fact, once you start to make a connection with the Polynesian culture in Moana, it’s hard to stop! Everything from the island homes (with traditional Samoan palm trees) to the Maui backgrounds (a nod to Polynesian calligraphy) are a tribute to Polynesian heritage Culturally as Disney tried to make Moana, the company and the film don’t speak to Polynesians and people in general. The film did get some parts of the heritage wrong, and as much as it tried to incorporate Polynesian tradition and history, there is still so much to discover! Find out below a few ways the story of Moana is rooted in Polynesian history and folklore.

Reference

Where is Moana from? The Home and Heritage of Moana (2023). https://www.familysearch.org/en/blog/where-is-moana-from.

Sloss, M. (2020) '‘Moana’: Here’s what Pacific Islanders really think,' BuzzFeed, 1 May. https://www.buzzfeed.com/morgansloss1/heres-what-pacific-islanders-really-think-of-moana.

Academic Blog Post #7

I like to use the idea of Semiotics by analyzing the animated film “Shrek”. Shrek is a ‘DreamWorks animation film released in 2001. Shrek is a series of movies dedicated to the adventures of a green monster named Shrek. Loosely based on the 1990s novel by William Stagg, the film follows Shrek (voiced by Mike Myers) as he is forced on a journey to rescue Princess Fiona (Cameron Diaz). The sin of Lord Farquad, at the hands of a dragon Along the way, he encounters an endlessly talking donkey (voiced by Eddie Murphy) who reluctantly acknowledges him as a friend for the trip. Shrek eventually marries Fiona and in the subsequent films travels to her distant hometown to meet her family where there is a lot of adventure on her! The movie is full of laugh out loud gags, some for adults only, adventurers and fugitives which proves that Shrek is loved by all ages

The Ogre denotes a hero in this movie. A hero is typically depicted as peaceful, noble, diplomatic, compassionate and prince charming. The Ogre in the film is demonstrated by a green, ugly, violent and selfish animal. Fiona implies a princess (Lee & Kwon 103). By and large, a princess is classically as beautiful, a sophisticated girl in distress waiting to be saved by her prince charming. Fiona is portrayed in the Shrek movie as a fierce, brave, talkative, and a great martial art expert. The donkey is another character in the film and signifies the side chick. A conventional donkey is usually friendly, dependent and a beast of burden.

Reference

Everything you need to know about the Shrek films! (2021). https://www.shreksadventure.com/blog/everything-you-need-to-know-about-the-shrek-films/.

StudyPool Homework Help - Semiotics Study of Shrek Movie (no date). https://www.studypool.com/documents/903956/semiotics-study-of-shrek-movie.

Y2pinku (no date) Semiotics study of movie shrek. https://www.scribd.com/doc/19050402/Semiotics-study-of-movie-shrek.

Academic Blog Post #8

By choosing Realism as a topic there are a lot of movies we can talk about. Another example is “The Lion King”.

When Disney’s remake of The Lion King begins, there is a strange sense of déjà vu. Lebo M. That jarring first "naaa" with its Zulu rhythm plays and the sun rises over the Pride Lands. The first animal to appear on screen is a monkey that rears its head, just as it did in the animated film. What follows over the next few minutes is an almost perfect remake of the original animated Lion King opening sequence, but this time done in photo-realistic form surprisingly In some places, the viewer can also forget that what they're watching isn't 't the original movie, just IRL Eve. But then Rafiki climbs Pride Rock with a red twig and a root in his hand instead of getting nuts from his staff to splash red on baby Simba’s forehead—creating the first major change from the original animated film— immediately reminding viewers that they have been a unique experience.

References

Desta, Y. (2019) 'The Lion King, Hand-Drawn Animation, and the Problem with Photo-Realism,' Vanity Fair, 18 July. https://www.vanityfair.com/hollywood/2019/07/lion-king-remake-disney-photorealism-animation.

Academic Blog Post #9

Here I would like to talk about the emotion affects in Marvel’s “End Game”. The end scene in the movie shows the sacrifice of common man among the powerfull gods & heroes & I's affects the viewers emotionally.

As the cosmic jewels melted into his armored fingers, Tony Stark ripped off his fingers, turning Thanos (Josh Brolin) and his army into pieces of ash, effectively vanquishing the imminent threat to the universe. But, as is often the case, victory came at a steep cost. The tremendous blast of energy not only decimated Thanos and his henchmen but also caused severe burns and inflicted grave injuries upon Stark himself. Despite the excruciating pain and the toll it took on his body, Stark was surrounded by loved ones who gathered around him, offering solace and support in this time of need.

The arc reactor in Stark's chest, the source of his power and a symbol of his resilience, began to slow down, hinting at the toll that his heroic acts had taken. In many ways, it appeared to be a natural consequence of his unwavering dedication to protecting innocent lives. Time and again, Stark had placed himself in harm's way, risking everything to save others from the clutches of arms dealers and other nefarious forces. However, even with a lifetime of selfless acts behind him, the decision to sacrifice himself for the greater good was not an easy one. The weight of the world rested on his shoulders, and the hope and inspiration that Iron Man had provided to fans over the years further complicated his deliberations.

Tony Stark has always grappled with his self-worth, questioning whether his actions justified the sacrifices he made. Both on and off the silver screen, Robert Downey Jr. embodied the redemptive journey of his character, demonstrating the power of transformation and growth through the fantastical lens of fiction. The story of Iron Man resonates as a testament to the human capacity for change and a reminder that each individual has the potential to make a difference, no matter the personal cost.

Reference

Justin (2021) How Avengers: Endgame fulfills the emotional arcs of Marvel’s characters - Justin Kownacki. https://www.justinkownacki.com/avengers-endgame-character-plot-marvel/.

Burt, K. (2019) Avengers: Endgame Prioritizes emotional strength over physical power | Den of Geek. https://www.denofgeek.com/movies/avengers-endgame-prioritizes-emotional-strength-over-physical-power/.

Academic Blog Post #10

The transmedia has various examples to provide. A blog article titled "Transmedia Storytelling 101" was written by Henry Jenkins in 2007. In this enlightening piece, Jenkins provides a comprehensive definition of transmedia as "a process where essential components of a fiction get systematically distributed across multiple delivery channels in order to create a cohesive and well-coordinated entertainment experience." This elucidation by Jenkins (2007) serves as a fundamental understanding of the concept. Essentially, transmedia storytelling involves the art of narrating a story or narrative across various media platforms, compelling the audience to engage in a mental jigsaw puzzle to uncover the complete narrative. Each medium involved in the transmedia experience contributes a unique and distinct portion of the tale, captivating the audience through different perspectives and elements. Only when these individual fragments are skillfully combined does the full picture emerge, leaving audiences immersed in a truly multidimensional story.

What sets transmedia storytelling apart is the wonderful synergy it creates between the various media forms employed. By skillfully intertwining mediums such as film, television, literature, and even video games, transmedia narratives seamless complement and enhance one another, elevating the overall storytelling experience to new heights. It is within this rich and diverse landscape that we find examples of transmedia storytelling at its finest, with beloved franchises like Star Wars, Game of Thrones, and the narratives from the Marvel Cinematic Universe standing as shining exemplars of this innovative and captivating storytelling technique.

Reference

Transmedia and Convergence: World-Building in the wizarding world of Harry Potter (2023). https://www.diggitmagazine.com/papers/transmedia-and-convergence-world-building-wizarding-world-harry-potter.

#Digital Media Sources & Significance #Academic Blog Post

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tarnishedxknight · 5 months

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2. How did you get into this franchise/fandom? 3. What's the best thing about the show/series/books/comics/etc.? 4. What's the worst thing about the show/series/books/comics/etc.? 14. Are there some characters from the franchise you can't stand? 19. If you could sum up your character with one sentence, what would it be? ((for all of them!)) 20. Which song do you feel describes your character the most and why?

{out of dalmasca} Alrighty, here we go! XD Under the cut for length.

2. How did you get into this franchise/fandom?

Well, I'm ridiculously old (I turn 43 next week, dear gods how did I get this old?!), so I got into the Final Fantasy franchise in general back in 1994 with FFVI, which was essentially a later reboot of FFIII that had originally been released in 1990. From there I played FFVIII and loved it, played FFIX and hated it, then I adored FFX, and then FFXII is my favorite one to date. I started playing FF games mostly because my friends were at the time, and then later on my (now ex-)boyfriend was playing them, but I tended to like different games than he did (his favorite was FFVII and I never got very far into that one).

As far as getting into the FFXII fandom, I basically just loved FFX so much that I figured I'd buy the next single-player FF game that came out, expecting the quality to be the same. It... was better, heh. So I'd already been loving FF games and a lot of other RPGs at the time and it sounded right up my alley. Once I got a decent way through the game, I absolutely fell in love with Basch/Noah, Balthier/Fran, Larsa, and several others, so I guess at that point I decided to immerse myself in the fandom. I got very into the sound track and started looking up information about the game and the Japanese manga after hearing that the original game had been altered and chopped up to make Vaan/Penelo the protagonist instead of Basch/Noah. So after that I got very much into reading any and all information I could find about Basch and Noah's background and history that wasn't included or was edited out of the final version of the game. It wasn't until very recently that I decided to start rping in the fandom on this site.

3. What's the best thing about the show/series/books/comics/etc.?

Oh, I can't pick just one, are you kidding me? XD The music is beautiful, the art style is gorgeous, the world is detailed and expansive, the voice acting is top notch, and the gameplay is genuinely fun. But I guess what I love the most is the story and characters. The story is so complex, detailed, and intriguing, and the characters are nuanced, engaging, and you really cared about their problems/plights/goals. The game holds your interest and makes you not only want to play it to pass time or just for the sake of playing a game, but also to advance the story and find out what happens to all these interconnected people.

4. What's the worst thing about the show/series/books/comics/etc.?

The butcher job they did on it. Because they suddenly thought that nobody wanted to see an angsty middle-aged man as a protagonist, it was changed from Basch to Vaan. Vaan... is a grating, whiny, obnoxious teenager that 95% of the fandom hates. His and his friend Penelo's story was kindof thrown in as an afterthought to "fix" a problem that didn't exist and change the protagonist. The problem with that is... it's supposed to be the main plot but it feels like an afterthought. Which then destabilized the whole plot as far as where the player is supposed to be focusing their attention. The more interesting plots become side plots, and this Vaan and Penelo thing gets forced on you when you really just don't care.

Also, because they did this, they removed an entire chunk of game from the middle-end of it because it was largely dealing with Basch and Noah. When they did this, they didn't carefully edit the last act of the game to account for the omission. So the last act refers to things that were removed or has things that don't match up and feel like continuity errors because the things they referred to or previous events that lead to later ones were omitted without explanation. It's so obvious that the game was mangled, and it's just a crying shame. If they had left it alone, it would have been amazing.

14. Are there some characters from the franchise you can't stand?

VAAN. Vaan. Vaan. It's Vaan. I can't stand Vaan. Penelo isn't half as bad, but she's not good either. She's just... there. But both of them I dislike for OOC reasons. Vaan is irritating and uninteresting. Penelo is one-dimensional and boring. That's just the fault of bad writing and editing. Now... Vayne... I also hate, but that's for IC reasons. The man is a narcissistic sociopath, an adroit liar, and an arrogant, smug asshole. I also have never been able to stand Vossler. He's... He gives off skeevy creep vibes and I just can't listen to him for too long, heh.

19. If you could sum up your character with one sentence, what would it be? ((for all of them!))

Haha okay get ready for some long-ass sentences. XD

Basch is a walking oxymoron of a selfless, gentle, and kind man and a battle-hardened knight and general who gives freely of himself to support, uplift, motivate, and protect those around him as he navigates the brutal war that destroyed his homeland with an inspiring amount of hope for the future.

Ashelia is a spirited and opinionated young princess who overcomes her biased, sexist, sheltered, and privileged upbringing to gain humility and perspective, become a champion for her people, and help bring about lasting peace for her kingdom while learning to set aside personal grudges and her own fierce pride.

Noah is a resilient and tenacious survivor who, despite feeling and being told he is lesser and harboring a deep and lifelong anger towards his brother, gave his life in every way possible to bring about stability and peace within a brutal empire and end the war that destroyed his homeland and his peace of mind.

20. Which song do you feel describes your character the most and why?

You all are probably tired of hearing about these songs on this blog by now, but here we go, haha:

Basch: "Broken" by Sonata Arctica

So I just realized that the fanvid of Basch that someone made to this song that I've loved for years now has been taken down from YouTube, so that makes me sad. That vid was really well done. But anyway, "Broken" will forever be my theme song for Basch. It does have the focus of him pining for Ashe but it's so much more than that. Every time I hear it, I think of him, heh.

"I was raised from a broken seed. I grew up to be an unwanted weed." Those lyrics make me think of him being a twin without his twin, a broken seed, but also "seed" is sometimes used to describe a person's personality or morality, such as being a "bad seed." If Basch is a "broken seed," then there's something inherently wrong with him, and there always has been, right from the start, which is how he views himself. Later lyrics "A little broken, always been," reinforce that idea. And being an "unwanted weed" makes me think of him being displaced from Landis. A landless person struggling to fit in elsewhere. Even in Dalmasca, a land he loved and considered his home, he was still a foreigner, a "weed."

"Held a torch for you when lightning struck me" makes me think of him trying to protect Ashe and even her father, or anyone else he tried to shield, not caring if he's hurt as long as his charge is safe. "Once again, hoped I'd died for the last time," makes me think of how tiring it must be to keep giving of himself and to be that shield for others, and every time he's put in that situation, he hopes it's the last. But of course it never is.

"Only one, I have a thing greater than you. A little light on the sky, every night." His "only one" is Ashe, and as much as he loves her, there's something that's even stronger inside him than that love, and that's this "light on the sky," a guiding star "every night," which I interpret as Basch's undying and unshakable hope that he always walks around with.

"Morning dew on the field where I met you. I was frozen a year, couldn't get through." I mean, he was imprisoned for two years, not one, but close enough, haha. But yeah this makes me think of him being stuck in prison and not being able to get to her to protect her and guide her to the Stillshrine as her father asked him to do.

"Fell in love with the weakness within me. Tried to force me the ring and own me. Guess you found what you'd think would oblige me, a little version of me to consume you." So... the "weakness" is his love for Ashe, and "force me the ring" makes me think of how his feelings for her first began when he saw her married to Rasler and realized that he felt sadness and a little jealousy for the first time. So "the ring," or her marriage is an unwanted thing that's being forced upon him to accept, he has no choice but to watch her be married to someone else. The "little version of me to consume you," makes me think of how Ashelia took Basch for granted a lot, just assumed he'd always be there, and related to him as she always had, with limited information about who he really was because he didn't talk about it. So it was like... she had her own idea of who he was that she "loved" in her own way, and Basch feels like that has to suffice, like that has to be enough for him, even though it isn't.

"I'd give my everything to you, follow you through the Garden of Oblivion." I mean, the first part speaks for itself, and the "Garden of Oblivion... the person who made the fanvid put a clip of Giruvegan here, and that's perfect. Giruvegan was this really weird, ethereal, trippy place that was like on the edge of reality, and Basch literally did follow Ashe there, heh, so that fits really well.

"If only I could tell you everything, the little things you'll never dare to ask me." So this could be about his love for her, but I always headcanoned that Ashe wanted to know more about Basch, his past, his family, Landis, etc. and Basch really just never spoke about much of it to her. That's why she never knew of Noah's existence until after her father's assassination.

"How can you love this exile? And how can I desire you when my pain is my pain, and yours is too?" I mean... Ashelia literally was in "exile" or hiding at least for two years and continued to be until she got knee deep in winning back her throne. But also, the idea of Basch taking on the pain of others that he loves is a big theme with him. If he loves you, then your problems, your traumas, your losses, your pain... becomes his, because he will care about them to the same degree that he does his own.

"Seven lives of a man pass before me. Seven graves, one for every love I've had," really fits for Basch because throughout his life, he has lost the people he loves. It seems to keep happening to him and around him, and yet he keeps living on. I feel like sometimes he wonders why. "Only once I have broken my so-called heart. Only one made me see why they cry." Well that is obviously about Ashe, heh. I always headcanoned that, because Basch was so closed off and never had a family of his own, that he'd never been with a woman. So everything he knew about women he heard from other knights and soldiers. This line to me makes me think about him hearing from others about broken hearts and failed relationships, and Ashe is his only experience with that in his own life.

"Will I learn how to be one of you someday? Will I still feel the eyes that behold me?" makes me think about Basch wanting to fit in, to be loved, to be Dalmascan, but he's just... not. And feeling eyes on him is a big theme for his character throughout the game. He's judged, slandered, hated, and mocked everywhere he goes because of the false understanding the masses have that he murdered King Raminas. So he's gone from being beloved, trusted, and respected to being a complete social pariah.

"Will I hear what you think when you see me? And will it tear me apart if you feel for me?" is again about Ashe, heh. He keeps his love for her silent. Completely. There are moments in the game (I can think of at least three or four) where he watches Ashe from behind or the side when she's looking elsewhere, and he just... considers her silently with this gentle reverence. But he never tells her how he feels in canon until Fortress, the sequel that never happened. Finally in the storyboards for that unfinished game, Basch confessed to Ashe that he loved her, some ten years after the end of the FFXII main game. So that line to me embodies this silent and distant way he loves her, both because he's a closed off person but also because he feels his love for her is wrong in several ways. And if she were ever to reciprocate his feelings, he wonders if it would tear him apart, which I translate into... he wouldn't even know what to do with her love if he had it because it's something he does not ever expect to have and has never even considered the possibility of it existing. It would be a good thing, but it would also shock him considerably.

I could go on and do the whole song but I won't, haha. But almost all of it is just so perfect. I'll end with, "Heaven's closed, Hell sold out, so I walk on Earth, behind the curtain, hidden from everyone, until I find a new life to ruin again." This is about Basch existing in this in-between of society, coming from a destroyed homeland and now dealing with the next homeland potentially being destroyed as well, and coming from being a respected knight to a "kingslayer" whose name is despised throughout Ivalice. He walks around in this state of feeling like he ruins everything he touches, moving from life to life, ruining them as he goes, somewhere in between heaven and hell.

Ashelia: "Cry No More" by Vaults

To me, this song embodies Ashe's growth as a character and what her coming-of-age arc is all about, and that's why it's my #1 theme song for her. This song for me is about Ashelia transitioning from princess to queen, from civilian to warrior, and from victim to survivor. The lyrics "I don't wanna cry no more. I don't wanna die a little more every day," reminds me of how she was born in war, grew up in war, and all she knows is life from the perspective of her, her family, and her kingdom being under threat from war. And she's tired of it. She's tired of crying and dying inside at every loss and setback and injustice. She doesn't want to cry anymore or be passive, she wants to take action, for her and her kingdom.

The chorus is meaningful as well. "To pull yourself from harm. To be the braver one. To raise a weary hand in a house that's built on sand. To wear it like a crown. To kick before you drown. To fight it, and to cry no more." This is about her fighting back and owning it instead of being a victim. She's not letting life happen to her anymore, she's making it happen, and she chooses to fight back and do something before she "drowns." It's also about her becoming the leader Dalmasca needs instead of a child whose life is dictated for her.

The "house that's built on sand" is just too perfect because Dalmasca is a desert country, but also to me, being built on sand means its unstable. It could collapse at any time, figuratively and literally. So in this uncertainty and instability, she's choosing to make a stand.

"To wear it like a crown" is also relevant, as Ashe's story is really about her quest for the throne of Dalmasca, both figuratively and literally. She wants to sit on that throne and wear that crown and become queen, but she also has to grow as a person and earn that honor before she can be the queen her people need.

"Will I be the warrior? Or will the axe shine clean? Steely-eyed, your blood'll burn. I will save our lives." That to me is about determination, fierceness, and tenacity. It's about her making the choice to move from being a sheltered princess who was never permitted to see or engage in the war around her, to becoming a warrior herself, and again that ownership of the leader she is becoming and that her people need. Before her husband and father died, she was basically meant to be shuffled from one man (her dad) to another (her husband) and to take this passive backseat in her own country's fate, as decided for her by others. Here she's asking herself, am I going to stick to that life or am I going to become a warrior myself? And her choice is that she's going to fight back and save Dalmasca.

Noah: "Heavy Is The Crown" by Daughtry

First of all, let me say that Chris Daughtry has an absolutely amazing voice, and his edgy, growling, yelling style has the exact energy that I feel from Noah quite regularly when I write him. He's also got an edgy, nonchalant, alpha-male sort of style to his singing, and that matches Noah too. So it's not only the lyrics of this song that fit him, but the feel and passion as well. If you watch the video, Chris' whole vibe matches Noah's energy for me so well.

Alright, so Noah was never a king and didn't wear a literal crown, but the idea of the phrase "heavy is the head that wears the crown" really has to do with leaders bearing a ton of responsibility, having a lot of problems, being in a lot of danger, and having a lot to worry about. Their burden is great. As the sort of unspoken leader of the Judge Magisters and the one whose example kept others from rebelling and potentially destabilizing the Archadian Empire, Noah as Gabranth really did wear a heavy "crown." He's constantly aware of his precarious political and military position and who/what he's keeping at bay and why, and it's no small burden to him. But it's one that he has worked hard for, bears with no small amount of tenacity, and will defend to his grave.

"Never needed any reason to find deliverance." This for me is about never needing to explain himself or to try to escape his past. Instead, he embraces the pain and trauma his past has given him and uses it to fuel him. "Like a cancer running through my veins, oh... it's never gonna give in," could be more literally about the nethicite poisoning he acquired as a boy, or it could be more figuratively about the abuse he suffered and how it will always stick with him wherever he goes.

"See them march like lambs to the slaughter. Toy soldiers, line up on the altar. I was never meant to drink that water. They'll remember me when I'm underground." This is him saying he's not just going to be another statistic or a face in the crowd. He's not going to fall in line and be forgotten to history after he's "underground," meaning dead. He was "never meant to drink that water," he was meant for something more. He was meant to lead, not to follow. This is about Noah wanting to acknowledge what shaped him but then wanting to rise above it and to become someone important. He wants to make something of himself that will be remembered.

"Heavy is the crown. Never falter, never let 'em bleed you out. I'll be still standing when they try to bring my castle down. I'll never bow down." Now, some might say well, he did bow to Vayne when he killed Drace. Yes? Outwardly? But that was a calculated move for the higher purpose of keeping stability in the empire, not because he was subservient to Vayne. And he does challenge Vayne at the end of the game to protect Larsa. But regardless, this chorus to me is just about Noah's tenacity to survive and not be a victim anymore. He will never bow down, he's gonna go out fighting. And he did in the game. But it's also about the phrase "never let 'em see ya sweat," heh. Basically, that means... no matter how much someone gets to you, how much things bother you, or how bad you feel... project strength and push through. Persevere. Don't let them catch you faltering. And he had to do a great deal of that as Judge Magister in the face of challenges from his peers.

"When the weight of the world crashes, pushing you closer to the edge, you find a way to get a little bit stronger, to fight off the demons." If this isn't Noah to a T, haha. He's constantly on "the edge," especially my version of him is. I write him perhaps a bit more emotionally volatile than canon or than other people's interpretations. He keeps it together where and when he needs to, but in private, he falls apart. He has to, because he's got to release that stress. With Basch in the game, that stress came to the forefront, and his usual outward composure really slipped, but other than with him, Noah usually kept a close guard of his emotions. But that doesn't mean he still didn't feel crushed by the weight of everything, it just means that instead of letting it crush him fully, he uses that pressure to make himself stronger. Diamonds from coal, right? XD

But one last important line for Noah is, "Everything will fade away. Nothing in this world is meant to stay." Even in the game itself, Noah was always keenly aware of the passage of time around him, the loss of life, the impermanency of power and title, of war and peace. Everything is always in flux, and nothing and no one lasts forever. Having lost so much, no one understands that better than Noah.

His building of this persona for himself, this "crown" that he wears... it's not for himself. Sure, he has something he needs to prove to himself, or maybe to Basch, or to life in general... and that's just that he's a survivor that won't be cast aside or beaten down. But beyond that, the power that Noah amasses is not for himself. It's not so that he can usurp the throne or amass his own empire or conquer other lands or anything like that. All the power he accumulates is so that he can protect Larsa, whom he sees as the future of the empire, and therefore to do his part in orchestrating an end to the war. He knows he will not live to see the end of the war. He knows he won't get to reap the benefits of his hard work and power. And that's fine, he doesn't need to. Everything he does is for the future of Ivalice, not for himself. With, of course, the exception of his outbursts to Basch, haha.

This all got SO LOOOOONG, I'm sorry! But thank you for sending these in, they were a lot of fun to answer! ^_^

#{ out of dalmasca } ᵒᵒᶜ #{ headcanons }

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joeabdelsater1 · 7 months

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Blog Post 1: Narratives

In this first blog post, I would like to inspect the nature of narratives in video games. I would also like to try finding my own definition of what a narrative is in the digital world of video games. In order to do that, I will have to refer to a few game creations that have been developed over the years and observe their narratives' structures, to then identify key components that would help differentiate them and set them apart.

Tomb Raider 2013

Generally speaking, this version of the game holds key aspects of a traditional narrative. First, the personality written for Lara Croft, the main character of the game is well believable and realistic. I remember from playing the game, how the plot shows a relatively steady development in Lara's character: she is first shown to be innocent and fearful as her adventures begin, and her decisions seem to be based on hesitation and uncertainty. Throughout the story, the main character ends up following a path of personal development and her actions start to reflect more logical decisions based on both her emotions and reason. All along she is accompanied and abandoned multiple times by a group of well-rounded side characters who both help her and ask for her aid at times. Not only does the narrative follow Bordwell and Thompson's three main components of time, space, and causation (Bordwell, Thompson, and Smith, 2023), but it also closes with a clear ending depicting a victory led by Lara and her friends who escape danger and return back to safety. Other than that, the narrative's structure that is adopted by the game designers seems to be linear, similar to the ones found in books and film, which is not surprising knowing that the first version of the game dates back to 1996 when it first debuted on the PS1 console. Even with the emersion of new versions, the game still limits player interactivity and control over the plot. The game can only be played the way the story was written, and its completion requires passing through all stages or events that are predefined.

Kena: Bridge of Spirits

Although this is a relatively fresh game produced by a new company, Kena: Bridge of Spirits follows a familiar narrative that can be identified in many older games. Its most notable nature comes in the shape of Levi-Strauss' theory which claims that most narratives have two main opposing characters (Strauss, 1963). In this case, there is an apparent contrast between light and darkness throughout the game. I remember from playing the game that the narrative does not focus on Kena's backstory, it instead gives priority to the battle between good and evil. Nonetheless, it is easy to identify with Kena since she represents "good" and most players can feel involved in her cause. Kena is a spirit guide, her mission is to free spirits that were trapped by evil throughout the villages in her world, and this was possible because of many interventions from NPCs (or side characters) who play a key role in helping her reach her goal. The narrative's structure in this game seems to resemble the string of pearls model where the storyline does have a clear beginning and ending, but its narration might slightly change between one player and another. This type of narrative allows players to venture on their own and engage in multiple side quests or paths before they end up at the designated ending stage. This exploration allows the player to be more in control of the game narrative, specifically in the temporal aspect of it as their actions specify how long the game takes to be completed.

The Witcher 3: Wild Hunt

Unlike the previous examples, this game offers a nuanced way of observing narratives in video games. It heavily relies on player interaction to determine the way the storyline progresses and even the way it ends. Although not the first of its type, The Witcher 3 remains one of the most well-known games that have a branching plot. Across all gameplay, the decisions that the main character Geralt takes affect the entire outcome and development of a lot of other characters (Millard, 2016). For instance, choosing how to respond to Ciri, his adoptive daughter, determines her future character. Choosing the types and the ways to interact with NPCs, and what sidequests to engage in, alters the entire storyline (Baker, 2022). Thus, making it impossible for all players to have the same linear progression of the game. This approach takes player engagement to the next level as interactions become the key components that drive the game's narrative.

And this brings me to the question...

How can I define a narrative?

Compared to conventional media like books and film, video games tend to have a much wider array of ways to go about writing narratives. Some games like Cities Skylines, a city-building simulation, don't even have any characters or stories prebuilt. Therefore, leaving it to the players to have the full creative freedom of creating imaginary plots and characters that fit their gameplay experience. In such instances, it becomes very difficult to give a clear definition of what a narrative is. In other instances, an entire game's narrative might be set on its environment or the emotions and feelings it exudes, like in the game Journey which is set on the exploration of the game world. Journey doesn't even provide linguistic dialogue between the player and the world entities. Only chirping sounds can be heard, which leaves it for the player to interpret the storyline. For these reasons, I believe it is crucial not to mix video games and other media when it comes to exploring narratives. Video game narratives cannot be confined to simple definitions as they come in an endless variety of forms. The only way to organize them is by classifying them in regard to their structures, or identifying whether the narrative is embedded or emergent when a storyline is available.

Sources

Bordwell D., Thompson K., and Smith J., 2023. Film Art: An Introduction ISE. [e-book] McGraw Hill. Available at: https://www.mheducation.co.uk/film-art-an-introduction-ise-9781265205478-emea-group [Accessed 6 Oct. 2023].

Strauss C.-L., 1963. Structural Anthropology. Translated by Jacobson C. and Schoepf B. G. Basic Books, Inc. New York. [pdf] Available at: https://monoskop.org/images/e/e8/Levi-Strauss_Claude_Structural_Anthropology_1963.pdf. [Accessed 6 Oct. 2023]

Millard D., 2016. The Narrative Structure of The Witcher 3. David Millard. [online] Available at: https://www.davidmillard.org/2016/12/the-narrative-structure-of-the-witcher-3/. [Accessed 6 Oct. 2023]

Stone C., 2019. The evolution of video games as a storytelling medium, and the role of narrative in modern games. Game Developer. [online] Available at: https://www.gamedeveloper.com/design/the-evolution-of-video-games-as-a-storytelling-medium-and-the-role-of-narrative-in-modern-games. [Accessed 6 Oct. 2023]

Tabari, M., 2021. Kena: Bridge of Spirits review — Familiar yet wonderful. [online] LaptopMag. Available at: https://www.laptopmag.com/reviews/kena-bridge-of-spirits [Accessed 6 OCt. 2023]

Baker, B., 2022. The Witcher 3: The 22 Most Important Choices You’ll Have To Make In The Game. [online] Game Rant. Available at: https://gamerant.com/witcher-3-most-important-choices/#pretending-to-capture-triss-amp-interrogating-menge [Accessed 6 Oct. 2023]

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blog-megg · 8 months

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Hosting the Perfect Murder Mystery Party: A Step-by-Step Guide

Murder mystery parties are a thrilling and immersive way to entertain your friends and family, transporting them into a world of intrigue and suspense. Whether you're celebrating a special occasion or just want to spice up your social gatherings, organizing a murder mystery party can be a fantastic way to create memorable experiences. In this step-by-step guide, we'll walk you through everything you need to know to host a successful murder mystery party that will keep your guests engaged and guessing until the very end.

Step 1: Choose a Theme

The first and most crucial step in organizing a murder mystery party is selecting a theme. The theme sets the tone for your event and determines the era, location, and overall atmosphere. Consider your guests' interests and preferences when choosing a theme, whether it's a 1920s speakeasy, a Hollywood red carpet event, or a spooky haunted mansion. You can find pre-packaged murder mystery kits online, each with its unique theme, characters, and storylines, or you can create your own.

Step 2: Plan the Guest List

Determine the number of guests you'd like to invite and create a guest list accordingly. Ensure that you have enough characters in your chosen theme for everyone to have a role to play. How to do a murder mystery party While murder mystery parties often work best with a group of 6-12 people, you can adapt the game to accommodate larger or smaller groups

Step 3: Send Invitations

Once you have your guest list finalized, send out invitations that set the tone for the party. Your invitations should include the date, time, location, dress code (if any), and a brief introduction to the theme and the characters your guests will be portraying. Encourage your guests to come dressed in accordance with the theme to enhance the immersive experience.

Step 4: Prepare the Materials

Gather all the materials you'll need to run the murder mystery party smoothly. This includes the game kit or storyline, character sheets, props, and any necessary decorations to create the right ambiance. Make sure you have copies of all character sheets and clues for each guest, as well as any props or items that are integral to the story.

Step 5: Set Up the Venue

Decorate your venue according to the chosen theme to create an immersive atmosphere. Ensure that the space is well-lit and that there is enough room for your guests to interact and move around. Arrange the seating so that everyone can comfortably engage in conversations and discussions throughout the evening.

Step 6: Explain the Rules

Before diving into the murder mystery, gather your guests and explain the rules and guidelines. Let them know how the game will work, such as when they can reveal clues, when they should interact with other characters, and how they should communicate their suspicions. Encourage everyone to stay in character throughout the evening to maintain the suspense.

Step 7: Kick Off the Mystery

Start the murder mystery by introducing the storyline and characters. Provide each guest with their character sheet, which includes background information, motives, and secrets. As the host, you can either play the role of the detective or take on a non-player character to help facilitate the game. Then, watch as your guests immerse themselves in the drama, intrigue, and suspense of the murder mystery.

Step 8: Follow the Plot

Throughout the party, follow the plot and drop hints and clues as the game progresses. Encourage your guests to interact, question one another, and work together to solve the mystery. You can introduce scripted events or revelations at key moments to keep the story moving forward.

Step 9: Unmask the Killer

At the end of the game, gather your guests and allow each character to reveal their suspicions and theories about the murder. Finally, unveil the true identity of the killer and the motives behind the crime. Make sure to acknowledge the efforts of all your guests, whether they correctly identified the murderer or not.

Step 10: Celebrate and Award Prizes

After the mystery is solved, celebrate with your guests by serving refreshments and discussing the highlights of the evening. Award prizes to guests who made the most accurate deductions, displayed exceptional role-playing, or had the most creative costume.

Conclusion

Hosting a murder mystery party can be an unforgettable and enjoyable experience for both you and your guests. With careful planning, attention to detail, and a commitment to immersing your guests in the story, you can create a memorable event that will have everyone eagerly awaiting your next gathering. So, choose your theme, gather your guests, and prepare for an evening of suspense, intrigue, and endless fun. Happy sleuthing!

#how to do a murder mystery party

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smokeybrandreviews · 2 years

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The Way Back

It’s been a while since I've updated progress on my Fate/Grand Order 2.0 account and i figured, why not? A lot has happened since i decided to give this thing another shot, even if it’s in a far more passive way than the first time around. It’s wild starting from scratch after having such a solid goddamn roster from before. I stand by my decision to start over but i do not recommend doing so if you’re a returning player. It’s not worth it. If you’re a new player, sure. Either way FGO is kind of WAY more predatory than the other gacha i play, Azur Lane. It’s also far less engaging. Thing is basically a point-and-click situation. Comes in handy when i have nothing to do at work and I'm waiting for Commission to finish in Azur Lane, though. A distraction is a distraction, i guess?

First and foremost, I'm still on my Mordred grind. Still trying to reclaim that absolutely crimson glory. The thing is, i am absolutely disillusioned by plot progression. I made it to London, the part where Mordred is added after completion, but this sh*t is BORING to play and I've just been spinning my wheels ever since. That, and my Servants are mad weak. I trudged my way through the the story with what little four-star Servants i was able to roll. I did decide to invest proper cash into this thing, you kind of have to because the gacha currency, Saint Quartz, is few and far in between. To date, since i started a few months back, I've spent about two hundred and fifty dollars on this game. Pretty sure i restarted in August so that’s about eighty bucks a month? It’s not egregious but it is twice what I'm comfortable playing. I don’t necessarily budget for this stuff, if probably spend that on fast food in over the same amount of time, it’s still frustrating that i had to do it, considering over the same amount of time, i spent less than a third of that on Azur Lane and effectively doubled my spoils. Speaking off...

The gacha in FGO is mad stingy. I’ve rolled this thing so many times in my return and i got nothing. Like, i was able to get Suzuka Gozen early on and she’s been been my workhorse so far. Chick never leaves my party because she is the only Servant i have who can do any damage. I maxed her out using that one-time option and have been steadily building her strength since. So far she’s at level eighty, sitting with a level five Bond, and a completed Interlude. I was also able to roll a second Gozen, so she now has a stage two Noble Phantasm. It’s a far cry from my wildly overpowered Mordred from the 1.0 account, but it’s a decent start. I was also able to bamboozle the gacha for several other four-star Servants, none of which i have even tried to use just yet. Lancer Vlad III, Nitocris, Valkyrie, Li Shuwen, Fion Mac Cumhail, Nursery Rhyme, Saint Martha, and Chavlier D’Eon, round out the gold cards i have. These Servant aren’t weak, per se, but they ain’t good either. Four-star servants take too much time and too many resources to actually make them substantial in terms of use and then they’re all but nerfed when you get to to the Lost Belt part of this game. Now asked me how many three-stars i have? That’s right, too many. None of which i even use with the exception of Medusa.

Obviously i use Medusa. She’s my second favorite Servant after Mordred. And, fortunately or not, she’s a three-star, which means there was a possibility I'd just keep stacking her cards whenever i made a run at a Banner. And stack I did My Medusa has the most Bond out of all my Servant, even beating Suzuka (not by much), because she is almost always in my party. Of course she is. How could she not be? I was able to max out her Noble Phantasm passively because, again, f*cking three-star, as well as complete her Interlude. She’s basically got the same progression as Suzuka because of the constant use but, unlike Suzuka, i actually invested a little bit into her skills. Not much but a little. Honestly, i forgot how expensive these f*cking Shill buy-ins are so i had to mete out the materials sparingly. I opted to rank her Monstrous Strength up to five. It’s made a difference but the fact she got my first Holy Grail helped even more. Obviously, i was going to throw these things her way, did the last time, too. Medusa is actually a pretty versatile Servant in the game but i did it because of straight up nepotism. She’s my favorite and i refused to have her stay a sh*tty silver card. It’s frustrating that Medusa and Suzuka were my strongest cards for so long but, much more recently, i was able to roll my first five-star Servant! You’d think I'd be excited about that. Nope. It’s mostly mixed.

The very first five-star that popped for me was a f*cking Ruler. Rulers suck ass. They’re he White Mages of the game and i goddamn hate White Mages. A few of them are decent, i like Sherlock Holmes, Ruler Artoria, and Amakusa Shiro, i got f*cking Shi Huang Di. I had this cat last time and NEVER used him! People tell e he’s one of the best Rulers in the game but he sucks for my particular play style. It’s infuriating to be honest. Still, the gets got better over time. After Butterfly Boy, i rolled Berserker Vlad III, which sucks because of the Berserker thing. I can’t even use Berserkers because they’re glass cannons. Another bust of a roll. For a long f*cking time, those two were the only five-star Servants i had on my roster so that speaks volumes to my struggle in this game. I literally stopped playing after two weeks because of it, only popping in to collect my Dailies and, over time, stopped doing that, too. Found myself bored at work yesterday and decided to actually try to finish London, giving the current Banner a roll for the f*ck of it. Finally got a Servant i wanted and never landed: Cleopatra.

Assassins are a tricky bunch. They are mad overpowered when attacking a single opponent but as a group? You might be boned. Medea’s Rule Breaker is almost as devastating as King Hassan but it’s rare that power is split between all enemies on the screen. The only Assassin i had in the past who could do that, a five-star one anyway, was Shuten Doji. Try as i might, i couldn’t pop her on that banner. Cleo is a decent runner-up. I’ve always wanted to add her to my roster but it just never happened on 1.0. I envied other players who had her and almost always picked her as support when she was available. Now, i have one of my own and have been nurturing her growth substantially. During this process, i ran the main banner twice and popped Altera and Osakabehime. It’s like the gacha decided to just be as generous as possible for one f*cking day. Altira was a boon because i literally needed a five-star Saber in order to replace Suzuka. Don’t misunderstand, my Fox-Gal is solid but i had Atilla on my 1.0 account and she was a goddamn beast. I need that power! Obviously, she’s next on the development list but i never even thought about rolling for Hime. She’s more a support Servant but that’s fine. She’s one of three viable five-star Servants of my roster so I'll give it a shot. All in all, I'm making progress. I have to keep in mind this account is brand new, that I'm starting from scratch. It f*cking sucks but i can see that it’s getting there. Let’s just hope i can maintain interest enough to keep up that grind.

#Fate/Grand Order #TYPE-MOON #Fate

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smokeybrand · 2 years

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The Way Back

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