What kind of music they like? Which one of them wears headphones all the time? Which one of them should be use headphones?
gideon: roxanne, heat of the moment, fortunate son, black hole sun, joan jett etc. she does listen to danger days but she will not say she likes mcr because people start making assumptions about her. she mainly likes that album and occasionally listens to save yourself, ill hold them back a concerning amount of times in a row
pal: classical when hes studying, ska for the hype
cam: house music, brass/horns heavy stuff. also likes ska and guitar-heavy songs
dulcinea: 2000s party music, R&B and jazz
harrow: cathedral nuns singing (9 hours), muttering radio channel (20 hours)
PSA: please do not send asks asking characters their opinions on singular songs/song genres/tv shows/movies. they are too specific to spend time listening, thinking, and drawing an answer to and they will be ignored
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it's so funny how Stray is such an organic and alive game and most of its characters are robots! they are unique and so humanized each with their own style, taste, mannerisms. the magnificent setting of the game only helps to enrich this universe. the way the city is alive, full of colors, I want to know more about their lives and what it will be like from now on. an optimistic vision of a dystopia where robots don't hate humans as we're used to seeing them, but decided to emulate and cling to the good parts of that old society and then create something new. just a bunch of loose words to conclude that i'm totally blown away by these little robots living their lives at the end of the world.
I think they will be okay.
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“I just don't like Gosho's use of ideas nowadays” do you have some examples? I’ve been feeling the same but I still don’t have like articulate thoughts on it
Well, 'nowadays' has been for. About ten years, ish? The most glaring example that always sticks out in my mind is the Sun Halo MK chapters, with the complete and utter waste of the very common fanfic tropes of 'Aoko gets suspicions' and 'Kid gets injured around someone'. But it kind of matches the general problem I have with his writing that I don't think used to be this bad: He's trying to stuff too much around the strict case-by-case structure (or for MK, introducing the heist-by-heist structure) without actually giving anything focus. (And for MK it's so much worse because he writes it so rarely, that he makes everyone cameo every time but they tend to just get hand waves to whatever drama plot gets instigated by Kid having his next heist.)
For DC, it's the whole. 1) Overarching plot with the BO and suspects and 'here's the available suspects for who's involved with the BO that we introduce one at a time at the end of cases and then maybe leave more clues about them during future cases'. 2) Dangling character or relationship progress and then constantly pulling it away, usually as a joke. 3) When we do occasionally get some of the major plot, it's all at once and then maybe mentioned once in the next case, but otherwise completely dropped. (Amuro and Akai and Kudo tea party tease also lingers as a 'Gosho is just evil at this point'.)
Basically rigid structure that doesn't allow for much of the subplots aside from breadcrumbs.
For the current situation, it's also tied into interview comments. Which. have no bearing on the story until he actually uses them. But instead of even that, the movie gets exciting stuff instead and puts it in a giant limbo of is it meant to be canon or not, because no one has been able to settle on that for any movie, even as some details get connected back to the manga more and more.
It's bad writing. Gosho has been a bad writer for a long time, and it's kinda just getting worse. It's my opinion that it's because he tries to have his case after case after case (because mystery manga), and then stuff little bits of everything else in the seams, whether it works well with the case he's writing or if it's a good delivery or (more usually) it's just. Kinda tacked on.
It's partially because of time investment, partially because I have low standards of entertainment, and partially because I want to see how it all ends that I stick with DC. MK is. Similar, but hurts more because I really hate how it morphed into the DC structure when old MK had more you could do with it. Gosho will never drop his rigid case-by-case structure at this point, but it really would be better if he did at this point. Things need development that they're not allowed to have. Or at least smooth out the lines between his hints. And stop with Heiji and Kazuha, just. God. Stop. Is this how people felt about Kid appearances? I feel like at least when people were mad about Kid, they knew nothing was going to happen from the get go, the romance 'tease' is just painful.
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That C.S. Lewis quote about being "old enough for fairy tales again" is really popular in this section of tumblr, but I think I've hit an opposite stage where I'm old enough for realism again. As a teenager in English class, realism seemed like the boring, baseline option that limited your imagination to only the dullest parts of daily life. If I wanted real life, I'd just live it! Stories should give us something bigger and brighter and more exciting!
But as I get older, I'm starting to understand that realism isn't about limiting yourself to the real world, it's about appreciating it. It's about noticing and caring about those tiny details in life. It's about looking at the seemingly ordinary and unexciting people and saying that their stories are worth telling, too. There's a beauty in gazing upon this world in delicate detail and drawing out those fine shades of nuance that you don't notice in the bustle of actually living life. Realism lets you slow down and recognize that our world has wonders, too, and they don't all have to be big and flashy to be worth our attention.
Younger me also got the impression that realism was depressing--we don't get happy endings because they're not realistic. And it's true that realism has a greater share of sad endings, but that can be a comfort. As you grow up, you have more and more experiences tell you that the happiness of life is buried in a lot of murkier emotions--a lot of turmoil and uncertainty and bad decisions--and realism says that's okay. The story's worth telling even if it doesn't end well, even if people don't rise above their baser natures, even if things are a bit dull. Realism can be happier, in some ways, than those bigger, brighter genre stories, because it acknowledges those murkier imperfections of life and says that they don't erase happiness or make someone's story not worth telling.
Lewis' quote is great, but it's not the whole story. Like Chesterton says, children are fascinated by fairy tales, but the youngest children are fascinated by reality--"A child of seven is excited to hear that Tommy opened a door and found a dragon, while a child of three is excited to hear that Tommy opened a door." Fantasy is a fantastic escape, but like all travel, the point of it is to make us see our own world more clearly when we return home. And that's where realism comes in. Those types of stories aren't about casting off childish fancy and focusing on the grim details of adulthood--they can be about regaining an even more innocent and child-like wonder.
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In A Guildsman Goes Forth to War, what can you tell us about fae society? I'm assuming they're monarchies, feudal or absolute? Do they bear any resemblance to Celtic society? Do they practice slavery? What of their gender dynamics? Etc
Great question!
So there's a lot that I'm not going to share with you, because the fae/Fair Folk/etc. are supposed to be a mysterious people who live in their own realm that connects to the human world via thin places in the forests and underhill and deep in the mountains or underground rivers, and humanity doesn't particularly understand them very well despite centuries of intermarriage, as the fae are both very cryptic and contradictory in the information they've shared with their Gentry kin.
Government
As far as humans have been able to glean, the Fae do organize themselves into Courts that seem close enough to European feudal systems that the leading families of Europe can do business with them when it comes to dynastic marriage alliances and diplomatic relations.
That being said, status and power in Faerie society don't seem to be based in land as they are among humans. (In the interests of full disclosure, I'm borrowing some ideas here from the Feywild in D&D.) As far as people have been able to glean from correspondence and diplomatic and cultural interactions, titles are based on elements of nature (the Duke of Hoarfrost, the Viscount of Watermeadows) or from emotions (the Lady of Wistful Rememberance, the Prince of Sorrow), or from ideas and beliefs (the Duchess of the Dark Side of the Moon claims to have once been a handmaiden to the goddess Selene).
Quite a few scholars of geography and history from the leading universities have theories and taxonomies about how Faerie society is organized, but they're all second-hand and can offer only partial explanations and there's absolutely no consensus about what's going on. It does not help that the rare diplomatic missions or marriage parties that go to Faerie from the human world rather than in the other direction tend to report memory issues, such that much of what is recorded owes more to dream logic than accurate observation. Needless to say, this has been a rich vein of material for poets, playwrights, and painters only, and intensely frustrating for academics and statesmen.
Culture
Faerie culture is highly localized in accordance with regional folklore and mythology, although scholars disagree whether human folklore is a record of pre-historical encounters with Faerie, or whether the Fae pattern themselves after the human cultures they interact with.
So for example, the Fae of Éire, Alba, Anglia, and northern Gallia seem to correspond to Gaelic and Brythonic literature, Arthuriana, and the Matters of Britain and France. In the Sacrum Imperium and the Danelaw, however, the dominant Fae cultures are distinctively Germanic and Scandinavian - whether that's the Rheintöchter of the Rhineland and Palatinate, or the dvergr who predominate in Bavaria and the Hapsburg lands or the trollkind and various álfar in the land of the Northmen. In much of southern Europe around the Mediterranean, one is much more likely to encounter Faerie peoples recognizable to students of Greek and Roman mythology: many Gentry from the Lega or the western half of the Rhōmaîoi-Rashidun Federation claim descent from oreads, naiads, nereids, satyrs and other bloodlines.
Human scholars are particularly confused by the fact that all of these different peoples all call one another "cousin," no matter whether they belong to the more humanoid elfkind or the distinctly non-human trollfolk or even the potentially fictional or extinct dragons.
Class and Slavery
As already suggested, Faerie society seems to have some sort of a hierarchy, but it does not seem to be one based in the inheritance of land passed down from generation to generation. Rather, as far as humans can tell, status seems to be associated with proximity to or control of or possession of or identification with magical power from various sources.
What does seem to be the case is that those with more power can command those with less, and Faerie embassies ubiquitously feature both vips with titles and what appear to their servants, but there is no consistency on which kinds of fae serve and which rule. Human visitors and diplomats are very unsure whether this consistutes a caste system or clientilism, because the Fae themselves speak in rather vague terms about "obligations" and "debts" and "true names."
Gender
Again, humans have a rather hard time understanding Faerie gender norms - and are rather unsure whether various Fae kinds have genders and how many they have. What is known is that, among what passes for royalty and nobility in Faerieland, there is a tendency for the female to be announced first - correspondence often arrives in the form of "Queen Titania and King Oberon" or "The Baroness and Baron"- which suggests a slight tendency to the matriarchal, but that is mere supposition. Human cultural conservatives both within and without the Church do grumble about the "immodest" and "amazonian" habits of Faerie women when they comport themselves in their visits to human society or in their Gentry marriages, but they make sure to do so under their breath.
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