?? What’s a ggy or a dr rabbit?

A very very tired lil guy that’s what he is

summer went away, still the yearning stays

My life is literally success story after success story after success story like it never ends 💀

Huge fan of Zolu stories with religious imagery in them, especially when it comes to gear 5 and the whole king of hell thing. Zoro just being so devoted lot Lufffy and the Straw Hats to a worrying degree-

yes yes uggh i feel the same way. i feel like their relationship within canon is so closely tied with devotion that their sun/moon—sun god/king of hell motifs are a natural progression. although we typically think of foils as “antagonists”, they’re really just characters who contrast in ANY sense and i really love the fact that zoro is luffy’s foil (and vice versa) in so many ways and could go on at length about how they compliment one another THROUGH their differences. their individual qualities stand out so heavily when you stick them next to each other in any scenario (combat, straw hat shenanigans, etc) but that also makes their similarities all the more obvious. and both are extremely devoted as a core character trait!!

obviously, there is the devotion to their respective dreams—and obviously, there’s zoro’s devotion to luffy, and luffy’s devotion to his crew. then, tacking onto that—as the series has gone on, zoro’s devotion to the crew itself (like you mention!). the fact that either would give up their own dreams, their own lives for the sake of that devotion (which we’ve SEEN on more than one occasion!!) makes their dynamic absolutely rife with religious flavor. dial that up to eleven and combine it with their heaven/hell-adjacent aesthetics? i am literally so weak for that shit.

they’re a little crazy! a little unhinged! they’ve got the kind of full-body, whole-soul loyalty that you only get at a level that’s a little bit religious and god damn, i’m here for it.

I'm already know for being very opinionated and having some Hot Takes, but I still usually keep it in line and fairly reasonable. Typical "Unpopular (but still somewhat safe to voice) Opinion" territory, where I might get some blocks and some scowls, but like, nothing major.

However I'm... gonna be posting an uncharacteristically rancid take this time.

I cannot fucking STAND vibes based design. Its become a trend lately to explain game systems by vibes, and it feels EXACTLY like the tropification of romance novels. A thing so many other people have complained about far more than I have, where so many works of fiction are now just being advertise as "Its a queer little slow burn, found family story that features enemies to lovers" OKAY, BUT WHATS THE FUCKING BOOK ABOUT?

And I feel like over the past 15-20 years, the TTRPG industry has been having the exact same issue. I can go through dozens of listings on itch.io for indie games and not see a single fucking game mechanic mentioned, and its frustrating. "This game is about gathering your friends to turn your local farm into a sustainable commune!" WHAT KIND OF FUCKING DICE DOES THE GAME USE? DOES THE GAME EVEN HAVE A GM?

And like, this isn't just about the feel good warm and fuzzy games. OSR is JUST as fucking guilty in this. "This game is a black metal death crawl through your worst nightmares." IS IT A RETROCLONE? IS IT A RULES LITE D6 SYSTEM? HOW THE FUCK DO I RESOLVE AN ACTION? DO ENEMIES USE STATBLOCKS?

If a video game showed absolutely no gameplay in any of its advertisements, only showing concept trailers and cutscenes and talking about its plot, you would probably shy away and think the game isn't worth playing if it can't even stand on the merits of its own gameplay. So why the fuck are we accepting that as the norm in TTRPGs?

I’d like to say thank you to the Pokemon Company for catering to me and my tastes specifically for this game. Because everyone knows how much of an absolute slut I am for undiscovered/off limits areas with possible eldritch interference and AI programs and robots. Literally two of my favorite tropes ever. 11/10 knocked it out of the park, they wrecked my shit with the whole Area Zero storyline and I am Thriving right now

Me: I have really popular friends

Mr friend: Okay

Me: I have a lot of people who visit my blogs

My friend: mhm

Me: my main blog only has 175 followers

My friend: Yeah

Me: So Im not famous.

My friend: SO YOURE FAMOUS THEN

Me: NO

Sparklecare criticism. Sparklecare positivity.

Sparklecare conversation blog where anyone can talk about how specific things in the comic make them feel. No judgement towards to creators, no judgement toward the viewers. Calm reasonable discussion. Bits of the comic or art or universe that light someone’s brain on fire. Commentary on what a certain page or piece of dialogue means to you.

Sparkleconversation. Is that anything?

I think that “The Waters of Mars” and “Silence in the Library/Forest of the Dead” are soooooo interesting to view in parallel to each other because they have a lot of complementary beats. (CW: Suicide Reference for “Waters of Mars”)

The Doctor arrives at ‘x’ place—a cold, dark Library, a doomed base on Mars—and meets an extremely accomplished leader of a good crew in Adelaide and River. Both women are necessarily hardened by their experiences and responsibilities in some ways but clearly care for their loved ones and their colleagues all the same.

The Doctor knows almost everything there is to know about Adelaide from an impersonal standpoint—her history, her death, her cosmic place in the wider universe. He initially looks at the Bowie crew and is visibly stricken by the inevitable tragedy of them all. River knows almost everything there is to know about the Doctor from a personal standpoint—he’s her husband, but god, he’s so young, and he doesn’t even know it. Know her. She has years upon wonderful and complicated years of history with this man, and he looks right through her. (She thinks it might kill her.)

As the respective episodes wear on, the Doctor has a clear connection with both River and Adelaide, both of whom can boss him around like people rarely do skskdjnsns. They’re smart and driven and won’t suffer any fools, but they’re remarkably human when it matters most. River speaks softly to Miss Evangelista as her ghost fades from the neural relay. Adelaide doesn’t shoot the infected Andy even though she could have.

But he’s also increasingly frustrated and upset by his helplessness when it comes to them. It scares and unnerves him that River is clearly someone extremely important from his future; he’s always been insecure about not knowing what’s in store, and River is a walking reminder of his lack of personal perspective, his inability to totally have control. He’s drawn to her. She’s so clever and brave and good. He fears what she represents all the same. He snaps at her, clearly distrusts her. River calls him out on being emotional. The Doctor knows that he should leave Bowie Base One. There’s nothing he can do for these wonderful people. What happens on Mars has to stay on Mars; a fixed point is just that—an immutable event in time. But as he gets to know Adelaide—who is also so clever and brave and good—that responsibility becomes muddied by his increasing care and admiration for the captain. He grows taciturn as he watches the mission all fall to pieces. He’s emotional.

But why is he emotional? What’s another central tension that these episodes share? Both “Waters” and “Forest” either directly or intertextually deal with the Doctor simply reeling over the loss of Donna. The wrenching grief of having failed yet another someone that he loves drives the Doctor’s anger and affects his ability to think objectively. River tells him to focus on the present, on the five people who are still alive in the room. (“Dear God, you’re hard work young.”) And the last scene of “Waters” is in stunning and raw conversation with “The Runaway Bride.” Ten alone and grieving is a recipe for disaster. Donna is the first person who’s explicitly told him that he needs someone to stop him. Because if he isn’t stopped, he becomes his own waking nightmare. He becomes the Time Lord Victorious.

The climaxes of both “Forest” and “Waters” are about the Doctor wanting to change history. “Time can be rewritten,” he pleads. And River, angrier and more desperate than we have ever seen her before, pleads back, “Not those times. Not one line. Don’t you dare.” By making him watch her sacrifice, she implicitly shows him that this moment in time is inevitable, and he’ll one day do the same to her in a lake in Florida. (It’s horrible and it’s awful, but, god, if it isn’t an act of unspeakable love and forgiveness too.) But Ten in “Waters” doesn’t have anyone to stop him—not Donna, not River, not even initially Adelaide, even though she desperately tries by blowing up the base. The laws of time will obey the Doctor. He’s a Time Lord, and he makes the rules. This revelation elevates all of his worst impulses—his arrogance, his vanity, and his pride—and for a moment, as we watch him gleefully preen to a horror-struck Adelaide, Yuri, and Mia, we understand that he’s become the villain in someone else’s story. Someone has to stop him, and that Adelaide does. She understands that there are too many things at stake for the future—her granddaughters’ life, the lives of so many others—in the same way that River wasn’t willing to relinquish one fragment of hers and the Doctor’s history. The Doctor realizes the magnitude of what the captain did—what he forced her to do—immediately. He went too damn far.

“Forest” and “Waters” both end with the Doctor running. Running to River, trying to save this person who will clearly mean so much to him one day. Running away from his fate in “Waters,” unwilling to accept the death that soon awaits him. (“Oh, I’m good!” He exclaims jubilantly when he realizes that his future self has saved the professor. / “Oh, I’m good!” He grins at Mia, Yuri, and Adelaide, so pleased that he’s saved them, that he’s single-handedly changed a fixed point.) But the shared impact of these stories is that both River and Adelaide teach the Doctor a lesson about the inevitability of time—its forward march, no matter how much he wishes otherwise. They give him perspective, these remarkable women—and to a being such as the Doctor who is sensitive to the whole breadth of the universe—that’s often the most important gift that he ever receives.

In P&P, Elizabeth asks Colonel Fitzwilliam about what sort of ward Georgiana makes, with the comment, "if she has the true Darcy spirit, she may like to have her own way."

I always find this pretty funny, though it's understandable (all things considered) that Colonel Fitzwilliam doesn't, and is alarmed for Georgiana's sake. And Elizabeth definitely makes inaccurate assumptions about Georgiana, so it's not even ill-founded alarm.

But. By all accounts, Darcy and Georgiana's father was a perfectly amiable and good-natured man who got along with everyone without stepping on toes. The extreme of Darcy's autocratic tendencies isn't his father, it's very obviously Lady Catherine, who is not a Darcy at all, but a Fitzwilliam. IMO, the supposed Darcy spirit is really the Fitzwilliam spirit.

And Colonel Fitzwilliam said just a few lines earlier that he would like to get his own way as much as Darcy and simply lacks the means, and that he assumes this is true of everyone.

I think it's clear enough that this is not true of everyone, actually. I feel like, personable though he is, he's also got a pretty recognizable Fitzwilliam strain in some ways. So there's just something kind of bizarrely comical to me about this whole "Darcy spirit" exchange happening with him.

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name one thing better than a good story . ill wait . there isnt

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How about that Ogerpon

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