TVSTRANGERTHINGS
Misplaced Lens Cap
Cosmic Funnies
if i look back, i am lost
@theartofmadeline
i don't do bad sauce passes
RMH
Aqua Utopia｜海の底で記憶を紡ぐ
ellievsbear
Claire Keane
$LAYYYTER
⁂
★
🪼
pixel skylines
YOU ARE THE REASON
almost home
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Sweet Seals For You, Always
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@modifiedmemory
yeah yeah rainbow capitalism is bad and whatever but like. when I was a child, being pro gay was not the popular or lucrative choice. I'm happy that times have changed.
I miss rainbow capitalism. I do. I miss when it felt like public opinion was still pro gay. I understand it was always an empty gesture, but it mattered in a sense of knowing how socially acceptable being queer is. If that makes sense.
I was feeling agitated and artblocked yesterday so I decided to give my brain a rest by watching TV and then the next thing I knew these were in front of me
Truly, the level of reclamation and the build-up of Hal’s play is giving me chills.
The Pariah blades are no longer hidden away in a museum. They’ve been soaked in the freed blood and spirit of the people who forged and wielded them.
They are in the hands of Rungjani, clanging in the streets of Dol-Makjar, calling the people to witness a story.
The Hallowed Round is also covered in the liberated blood of Rungjani. Blood held captive for centuries now shapes the forms and faces of Rungjani, captives who strove and died, but did not fail, because their rebellion was a step forward on the path toward freedom.
The play is going forward, with no influence from the Creed. Everyone in the city will see it in its true form— a story of rebellion.
It makes me think of the Falconer’s Rebellion, another failed rebellion. Two rebellions that failed with the fall of a single great man.
But there were nine blades used in the Rebellion that succeeded. Decades later, the Lloy name is held in highest honor as the creators of the Blades, not the wielders.
It makes me think of Uli saying, “I know now that those who sang songs in this place, even if the words were meant to soothe [Azgra’s] wrath and keep our lives in propitiating his fury; the melody, the dance, the fury and the passion, that was always for us.”
It makes me think of Demodus, saying that things have to start as an illusion first.
It makes me think of Thaisha, speaking a Rungjani blessing, blessing the Conqueror, “for in his appetite, he saw Aramán forever changed from what it was to what it might be. A blessing to him, then, that the Rungjani reject peace in favor of a dream.”
Why do we tell stories?
I think I know. And I’m very excited for opening night.
really don't know how to explain to people Azune is horse-coded not dog-coded.
a non-comprehensive list of things Azune has in common with a horse
symbolically associated with both labor and freedom
strong work ethic
he almost definitely took Draconic sorcerer subclass and everyone who's been in middle school knows dragon girls are just horse girls but weirder.
usefullness is necessary to survive
big eyes that will show you the face of a dead god
long beautiful braided hair
i've never been so mad at someone for one-up'ing me on my own post.
*sobbing* i love em
I’m just saying if Daniel Radcliffe, the literal protagonist of the Harry Potter franchise since the age of ten years old, was able to disavow JK Rowling and move on from the HP universe then actually what the fuck is anyone else’s excuse. There is no one else on the planet who can say their entire childhood was HP more than that guy and he still cared about trans people more than the average tumblr user who says “we’re protesting by making all her characters queer and trans!!” like you can do better. You should do better.
GIVE! HIM! AN! ICE CREAM! PARTY!
"How do you do it?" "There's not really a choice."
While I think part of Thimble and Thaisha being Thjazi's biggest defenders in the group scene can partially be ascribed to they're both being people relatively close to him who have not had to deal with trying to put together the pieces of his plan re: the paint et al., and all the machinations on his part that it exposed, I think there's more to it as well.
Thimble and Thaisha being the ones who defended Thjazi against Bolaire is also bolstered by the fact that they both knew Thjazi best in the context of his current work as a revolutionary.
Hal, and even to some extent Azune, seen to have largely been kept out of the loop on Thjazi's current activities. So they know Thjazi as a person but they were kept separate from his own actions and activities in the interest of keeping them both 'clean'. Murray largely knew him as a fence. Occtis was doing him a favor because Thjazi helped get him into magical school etc.
This was happening with everyone Thjazi was close with to some extent, as demonstrated by the cold open where he and Thimble agree to seperate their spheres of knowledge and influence, and in the fact that no one in the room had known about The Cloak and Thjazi being a part of it.
And yet Thimble was still his partner in crime. Thimble was able to arrange payment for the paints which means she had access to a substantial amount of their shared finances. They had stolen the Stone together recently.
Similarly not only was Thaisha tapped to aid Occtis in retrieving the coffin from Venatus, Thjazi also mentioned her as already moving to take action in the Fang brother's flashback right before the Rebellion. The two of them have kept in contact even through Hal and Thaisha's changing relationship and he clearly saw her as someone he could rely on, and I believe as someone with very similar goals and priorities (albeit on a different scale).
Which is all to say that I understand why the rest of the table had reasonable doubts about Thjazi's motive and methods.
But the people who knew him the best in the context that we're talking about- is the Thjazi of today someone who would sacrifice not just 5000 people in general, but a substantial portion of the Rungjani? Is he a person that would sacrifice his allies without warning, who would burn them on pyre for his own vision? Is he a person who would work with the Sundered Houses to any extent?
The people who knew Thjazi the revolutionary the best and most recently said 'No.'
I think that's worth keeping in mind.
YELLING the SPEED at which Azune pivots from full sobbing to "but Occtis can come with me" Luis / Azune is truly on some next level shit, bc the breakdown and his fears are both SO genuine and raw and true but also the immediate demanding Occtis is like, some part of him must've been aware that his very real and genuinely happening breakdown would weigh the scales there in his favor. especially the really pained reaction to Occtis saying that Azune is, even right and still now, a good person.
CRITICAL ROLE: CAMPAIGN 4 Episode 26: Council of Heroes
I think azune should fuck off from dol makjar and just join king gus and his cohort of gay knights. that'd probably fix him
Yanessa Halovar's theatre intervention is a commentary on racial and social politics implicated in art in a time of religiously motivated authoritarian takeover, and it is a very incisive one at that. It is also an exposing of the endpoint of the logic behind "we are uncomfortable when we are not about me???" type of evaluations of art. We individually may not have the systemic weight of an oppressive religious organization backing our grumbling to this end, but it does stem from a similar framework of instrumentalization and entitlement.
A feature of my RPG designs, which was not intentional but has become clear to me in many projects, is how often I tie the fate a character mechanically to the decisions of a different player. In "The Extraordinarily Horrible Children of Raven's Hollow" all the PCs (Horrible Children) are against each other. But as the children are eliminated their players continue on as Ravens. Ravens have kingmaker powers. Any player who wants to be the last child standing AND survive the mob of angry adults NEEDS at least half the Raven players' support. In "Haunted" the murderer is at such a massive mechanical disadvantage they need help. Either some of the supporting characters need to start helping the murderer with their goals OR the murderer has to somehow win over the ghost of their victim OR the murderer needs to start making restitution for their crime AND the other players need to see and acknowledge that. And now I'm working on "Variations on a Quiet and Lonely Hell" which features two GMs who are also in-universe cosmic forces and pretty much hold the Fate of the PCs in their hands. I describe the game as "God and Devil arguing over the worth of sinners" and the mechanics reflect that in that the player characters have to demonstrate to God and The Devil they are worthy of absolution for their crimes. I think this is a subconscious reaction to how inflexible I find people in play. You tell two players their characters hate each other and they will just hammer that note for eternity regardless of what happens in play. Tell players that scenes should have conflicts and they will go out of their way to manufacture conflicts where none existed. All my games end in blood, tears and tragedy IF NO ONE RELENTS from hostile initial conditions. If the players refuse to assess the fiction and change their positions everybody dies. If the players and by extension their characters aren't flexible in their perspectives, then the trains WILL crash. When was the last time your character changed just because the fiction of the game moved you to have them change? Not because a meter filled up and you had to mark a trauma box or because you and the GM colluded on a story beat, but were genuinely MOVED to play differently?
Mighty nein shitpost 125/?
