Ooo here's one for the main gerudo family! Is there any significance to any particular jewelry pieces of nabooru or ganondorf? For example, were any of their pieces passed down from urbosa, or did they get certain bracelets/rings etc as a symbol of maturity as they reached certain ages? Or is there just any piece of jewelry that either character would hold significant to themselves as gerudo or just a happy memory?
I remembered how Taru gave ganondorf his necklace and was wondering if either of the siblings had similar stories for their other jewelry esp since ganondorf still seems to be taking good care of his gerudo bracelets/rings in the present
OOOKKKKK WHERE DO I BEGIN
So jewelry is very valued in Gerudo culture far more than other cultures. It is a beauty item usually gifted or passed down. In Pre-Calamity; Nabooru’s jewelry was gifted by her mother Urbosa, Ganondorf’s jewelry was either obtained by him or gifted by his past lovers. Obviously his necklace was a gift from Tarú, that is Ganondorf most valuable piece of jewelry he owns. As Tarú made that necklace by hand.
I actually want to make a proper post about their headpieces and what they mean. Its something that has been in the back of my mind but never properly did.
OK NOW I GET TO TALK ABT MY FAV PART About a year ago I thought of who might have possibly given Ganondorf the obsession of jewelry he has today. Before Ganondorf dated Tarú, used to date Isha the jewelsmith. Isha showed Ganondorf how to properly style and take care of his jewelry, which has lead him to this day still using the same methods Isha has told him. A few of the rings Ganondorf owns were gifted by Isha. I haven’t figured out a solid design for her but I have been drawing her on and off. Reason why they broke up btw is cuz Ganondorf is stuck in the old and was afraid of the relationship to move forward (married status), so Isha broke up with him. </3
In Post-Calamity times Ganondorf was able to obtain new jewelry in trade, his ankle bracelets and toe rings are a new addition to his collection. Sheik loves his jewelry and wishes he could wear them but those rings at best fit two fingers of Sheik.
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You know what's interesting to me? For all people keep claiming at every juncture that perhaps Bells Hells will come around on the gods and see the harm they do (which, as discussed extensively, is, half the time, simply not intervening) not only have they never done so, but also they never quite cross the line into saying the party should join the Ruby Vanguard or aid them - and indeed, they defend against it - so what does this achieve? It feels like they're asking for a story in which the party stands idly by, which isn't much of a story nor, if I may connect this briefly to the real world, a political stance anyone should be proud of.
That's honestly the frustration with the gods and the "what if the Vanguard has a point" conversations in-game. What do we do then? Do we allow the organization that will murder anyone for pretty much any reason that loosely ties into their goals run rampant? The group that (perhaps unwittingly, but then again, Otohan's blades had that poison) disrupted magic world-wide, and caused people who had the misfortune to live at nexus points to be teleported (most, as commoners, without means of return). While also fomenting worldwide unrest?
Those were the arguments before the trip to Ruidus; with the reveal of the Vanguard's goals to invade Exandria, the situation becomes even more dire. Do you let the Imperium take over the planet?
And do the arguments against the gods even hold up? If Ludinus is so angry at them for the Calamity, what does it say that he destroyed Western Wildemount's first post-Calamity society for entirely selfish means? (What does it say about the validity of vengeance as a motivator?) What does it say that Laudna told Imogen she could always just live in a cottage quietly without issue before the solstice even happened? (Would this still be true if the Imperium controls the world?) What does it say that when faced with a furious, grieving party and the daughter she keeps telling herself was her reason for all of this, Liliana can't provide an answer to the question of what the gods have done other than that their followers will retaliate...for, you know, the Vanguard's endless list of murders. (That is how the Vanguard and Imperium tend to think, huh? "How dare your face get in the way of my boot; how dare you hit me back when I strike you.") She can't even provide a positive answer - why is Predathos better - other than "I feel it", even though Imogen and Fearne know firsthand that Predathos can provide artificial feelings of elation. Given all the harm Ludinus has done in pursuit, why isn't the conclusion "the gods should have crashed Aeor in such a way that the tech was unrecoverable?"
Even as early as the first real discussion on what the party should do, the fandom always stopped short of saying "no, Imogen's right, they should join up with the people who killed half the party," it was always "no, she didn't really mean it, she just was trying to connect with her mother." Well, she's connected with her mother, and at this point the party doesn't even care about the gods particularly (their only divinely-connected party member having died to prevent the Vanguard from killing all of them). So they will stop the Vanguard; as Ashton says, the means are unforgiveable. As Laudna says, it's not safe to bet on Predathos's apathy. As Imogen says, she's done running; the voice that she used to think of as a lifeline belongs to someone she doesn't trust. So I guess my question is: if they're stopping the people who are trying to kill the gods (and defense of the gods isn't remotely their personal motivation)...do you think the next phase of the campaign is Bells Hells personally killing the gods? Reconstructing the Aeor tech and hoping none of their allies notice? How does this end? Does your ideology ever get enacted? Or is this entirely moot and pointless and the story ends with Bells Hells saying "well, I'm really glad we stopped the people who [insert list of Vanguard atrocities from above]; none of us follow the gods or plan to, but honestly, the status quo we return to is preferable to whatever nightmare Ludinus had concocted in his violent quest for power and revenge"?
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For the nonnie who asked: here are some of my all time favourite lengthy Stucky fics (30-200k, mostly multi chapter):
Not Easily Conquered by dropdeaddream, WhatAreFears
This, You Protect by owlet
Home Is Wherever I'm With You by cydonic
Lucky Seven by BetteNoire
Political Animals by @spacerenegades, Deisderium
Wishes and Words by wearing_tearing
A Company Man by @whtaft
Push It Real Good by spoffyumi
The Size of Perfection by @phoenike
Like Real People Do by 2bestfriends
Easy Work For Easy Pay by AustinB
Prince Charming by Brenda
What's in a Name? by levi_cas_tho, maichan
Critical Feline Mass by Kryptaria, zooeyscigar
Ipseity by SkyisGray
Circling Back by chaya
Ain't No Grave (Can Keep My Body Down) by spitandvinegar
The Necrofloranomicon by leveragehunters (Monkeygreen)
with all my skin and bone by unicornpoe
He's All That by @spacerenegades
Monoclonius by Zenaidamacrouras1
oh meet me, my darling, where the sun sets over the barley by charlesdk @trancowboy
Coming Home by charlesdk @trancowboy
The Settler by charlesdk @trancowboy
Waking Up Slow by odetteandodile
Family Placement by notlucy
I Held You in Gloved Hands (And I’m Not Letting Go) by @voylitscope
then a small thing happened by BeaArthurPendragon
North Fork by BeaArthurPendragon
Itsy Bitsy Yoga by wearing_tearing
All Those Little Pieces by Ellessey
Bucky Barnes Gets His Groove Back & Other International Incidents @silentwalrus1
Scents and Sensibility: The Working Assassin's Guide to Supersoldier Seduction by galwednesday, silentwalrus, skellerbvvt
Coming Home For Christmas by Chiyume
Chase the Lightning From the Sky by SilverSlashes
These next ones I haven't had a chance to read yet, but I love these authors' other fics so I'm sure these are brilliant too!
lane lines by @sparkagrace
Till It Bleeds Daylight by @cable-knit-sweater
Backhoe by @zenaidamacrouras1
hey now, you're an all star (get your game on, go play) (WIP) by @buckyismybicycle
I was alone, I took a ride (I didn't know what I would find there) by @otp-holic
Till there were no more wolves in the West by @dharmasharks
better to speak or die (WIP) by @between-a-ship-and-a-hard-place
Atoms by @andrea1717
I'm sure I'm forgetting some brilliant ones, so feel free to add to this! Also, please check out these authors' other works too, they're all brilliant <3
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I am once again BEGGING folks in the critrole fandom to understand that terms for problematic queer tropes have actual meaning and context.
Queerbaiting cannot exist in the context of "the queer relationship I prefer didn't happen but another one did." Nor does it mean "a queer character doesn't get into a relationship with someone they're implied to be attracted to." It cannot exist because one character you wanted to be queer was not confirmed as such and did not have the chance to explore a relationship the fandom wanted, in spite of a plethora of other queer characters and relationships in the media.
Because queerbaiting means an intended, marketed implication that there would be a central queer relationship that was never actually going to be delivered on, in an effort to attract queer audiences without alienating straight/homophobic ones.
Bury Your Gays cannot exist in the context of "character I ship in a queer relationship died." It cannot exist in the context of "other characters of canonical queer status lived." It cannot exist if the story and setting otherwise strongly and repeatedly refute the idea that any experienced queer happiness must be punished. It cannot exist if the character you're talking about has not been confirmed queer.
Because Bury Your Gays is a term for introducing a queer character into an otherwise straight work (usually in a tokenistic way) and then killing them off without ceremony or purpose—often or, depending on the definition, exclusively just after they have started or consummated a relationship, as it is an implication that queer happiness must be punished as a cosmic rule of the setting.
These tropes virtually cannot be present in a work if they are otherwise refuted by the work itself due to the presence of other queer characters. They suggest a rule of the narrative that queerness is anathema to the narrative and world, and cannot be allowed to exist, which cannot apply if the world and narrative is otherwise very supportive of queerness. In fact, the context of these tropes when they were established implied that this was applicable to the only queer person or relationship in a work, because in the context of their inception, it was nearly unfathomable to have even a semi-mainstream media with numerous queer characters and queerness normalized and expected within the setting.
EXTREMELY specific parameters would have to be met to have either of these tropes in particular present in Exandria at this point, and even then, the question of whether or not it would still apply given the conceit of the setting's relationship to queerness and gender as well as the improvisational format of the medium is something that would take whole dissertations to discuss and come to anything approaching a definitive answer.
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the thing people point out most often in my paintings is usually my use of color. it's definitely my favorite part of painting, so hearing this always makes me happy. but it's weird, because it's really hard to articulate exactly why i choose colors the way i do, aside from basic color theory principles. HOWEVER, i've recently come to the realization that i have one significant influence that i don't often register consciously: IMAGE COMPRESSION. the way colors are compressed is really similar to the way i choose all the colors i use. here's an example of what i mean:
see on the left it's just a normal, white hallway. but when you start to reduce the number of colors through posterization, you see that there's BLUE! and RED and YELLOW! there's all these vibrant, glowy, low-contrast rings of color banding around the walls, comprising an overall 'white' image. they're like little halos of light. the photo obviously looks 'uglier' when you compress it like this, but i can't help but appreciate how unique it looks. it almost looks iridescent. you would never think to use color like this if you weren't a computer trying to crunch together the closest available colors.
there's a lot lost in a camera's translation of raw sensor data to pixels, but the distortion created can be equally beautiful if you look at it through the right lens. i remember zooming into heavily artifacted art when i was little and thinking "how do the artists know when to use white pixels or very slightly bluish-white pixels??" i ended up trying to replicate this a few times, assuming the reason my drawings didn't look as good was because i was using the wrong colored pixels. this initial misunderstanding definitely paved the way for my fixation on the subject, once i was old enough to know what a "jay-peg" is.
the different containers that data, particularly images and sound, are encapsulated in, always define them in some way. the idea of lossless quality—seeing/hearing something the way it was 'meant' to be perceived, free of distortion—is an ideal that i've learned to stop striving for. there's value in compacting things, and conveying them less than perfectly. this concept isn't anything new, of course. the warm fuzz of record players, the blurry imperfection of polaroid photos... these things are genuinely gorgeous, despite their 'ugliness'. it's almost strange to think that effects like these were compromises with the technology available rather than deliberate aesthetic choices.
dithering, reduced color palettes and artifacting are all obviously more modern forms of 'ugly', and thus less often reminisced about. but i really wonder if we'll see more appreciation of them in the future, and i kinda hope we do... i've been showing my appreciation for this somewhat abstractly, but it's undoubtedly still apparent as an influence in my art. i can't help but love it all, honestly.
there's something undoubtedly charming about images so compressed that it's obvious they've been passed around websites for a while, as well as slightly sped up, 128kbps versions of songs uploaded over a decade ago. yes, sometimes it hurts that you can't covey things with lossless clarity—there is always a distortion; a compromise made to compact raw data into something comprehensible by human eyes and ears. these little bits of 'ugliness' are unavoidable and inevitable, because they define the data itself. even your flawless FLAC files become distorted by the speakers that play them. perceptual perfection is always fun to strive for, of course... but sometimes learning to love the limitations of a medium is the best you can do for it.
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Being loveless is so frustrating sometimes, not in the "oH eVeRyOnE eLsE sEeMs So HaPpY, i WaNt ThAt" way, I don't give a fuck, leave me out of it please and thank you. No, the issue is I see so many posts that go "EVERYONE wants love" "EVERYONE needs love" "you deserve love!" etc etc that immediately make me extremely uncomfortable, but I'm not allowed to say anything, because if I mention loveless people on those posts its considered an attack on the happiness they're celebrating, and should I even bother? Its not about me, that's kind of the point, the only way I'm involved in those posts is the "everyone" lines, and clearly loveless people aren't included in "everyone". Do we matter enough to those people for them to change the way they speak in those posts? To be considered before lumping the whole world together like that?
I've never consented to being involved in the concept of love, I don't want to be dragged into it, those posts straight up feel like a violation of boundaries, and is there even anything I can do about that? Its not like anyone else cares, and if I want to be in mentally healthy spaces I can't just block every person who posts those things, because they're considered positive and good things, the only spaces that wouldn't talk like that would be loveless spaces (a huge minority on the internet, nonexistent irl) and unhealthy spaces where ALL positivity is locked out. I'm already in the former, and I LEFT the latter years ago because it was bad for my mental health, I'm not going back there
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