You know, what I really love about the show is that it never frames Galadriel as right!
She's impulsive, abrasive, manipulative, and selfish. She's so focus on her revenge that she doesn't realize what's really happening around her. She's chasing a ghost and she ends up creating her own enemy.
But that's what makes her character so compelling. She's far from perfect. She's human. And she's suffering. She's lost the people she loves and she doesn't know how to cope with that!
No, the show doesn't glorify war, doesn't think that Galadriel's revenge is rightful.
What the show does is to show a human being that went through hell and is learning how to survive that. This revenge is the only thing that keeps her going. She needs it... And that's the whole point. For a moment she even thinks to accept Sauron's proposals. To let the darkness in means to ease her pain, it means relief.
Galadriel is at the beginning of her journey to become what we see in the end of Lord of the Rings and I'm glad we get to see it...
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Me: *hears the line "Fine, make me your villain" for the first time watching the trailer*
Me: Oh that sounds cool and badass. Is it about a good/morally grey character forced to be a vigilante to protect innocents or those he loves? Then I'm intereste-
The Darkling: *is an abusive grooming 400yo+ pos that seduced a naive and isolated 17yo orphan so she would obey him and he could exploit her powers for his own goals like mass murder and world domination*
*says this line after being confronted by the ones he assaulted and called out on his fucked up deeds/goals/means*
Me: Ah
Me: Then no 😀
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Do you remember what I said to you? I said, What on earth can you do on this earth but catch at whatever comes near you, with both your hands, until your fingers are broken? I'd never said that before, or even consciously thought it, but afterwards it seemed like the truest thing that my lips had ever spoken, what on earth can you do but catch at whatever comes near you and hold onto it until your fingers are broken . . .
tennessee williams, orpheus descending
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Ragoru
By: S.J. Sanders
Monster Scale
Level 04: Actual Monster (Physically)
Werewolf men with four arms, eyes, and two dicks.
My Overall Rating For The Book
"I Bought The Book/Series And Want Them Signed Please Holy Shit"
The Ragoru stories continue with a super, super prequel! Hundreds of years in the past from Red (the first story in the series). Humanity has just started loosing access to their technology, but our leading lady is on a mission to help a far off mining town with a mysterious monster problem. On the way she's found by a lone Ragoru, then two more follow along. Adventures ensue.
Keep reading for ‘This Book Has Everything’ and possible Trigger Warnings.
This Book Series Has Everything
[x] Touch them and I’ll kill you vibes
[x] Main character that you want to smack for making some DUMBASS decisions
[x] Big buff love interest
[x] Miscommunication happens between leads at some point
[x] Plot first smut second
[x] Love interest goes on a rampage when main character is either hurt or kidnapped
[x] Girl ends the book pregnant or is pregnant
[x] Reverse Harem or Poly
[x] Couple bonds in a Bear Grylls survival situation
[x] Dude got an interesting dick
There's two!
[x] We’re escaping from the bad guys' prison/lab/etc.
Not really the bad guys, but the Ragoru do get out of a spaceship.
[x] Main character and love interest talk about their problems or tragic pasts and heal together
[x] There is something wrong with the current female population, hence humans
[x] Open communication
[x] The couple has equal power in the relationship
[x] Friends to lovers
[x] Lead or love interest gets injured and the lead or love interests drop everything to take care of them
[x] Happy Ending Guaranteed
[x] Super scary/dangerous but very gentle and sweet with the one they love
Here’s a link/buy the book!
Trigger Warnings
[x] Loss of a loved one
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I need book recs with powerful female leads.
I’m talking bloody violence, ripping people apart, screaming, going literally insane with anger…ANYTHING AND EVERYTHING
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wilds era complaining under the cut I just finally figured out a thing that's been making my brain itchy
Honestly as much more as I liked TotK than BotW because all I really wanted from BotW was more atmospheric spaces and more story, learning that Fujibayashi was an experience designer for horror attractions makes everything I hated about the last three big zelda titles (the ones he directed) make so much sense.
If you've known me for the past few years, you have definitely heard me complain about not being able to ride my horse in the desert, despite the reason for that limitation being a story beat that you have to resolve, and despite resolving it, you still cannot use that mechanic in that area.
I thought this was just a Me, Personally complaint -- but it's actually a perfect summary of the Entire Issue I have:
Fujibayashi's games don't prioritize story at all. By his own description, everything in his games are about mechanics and getting from point a to point b to make you use those mechanics. The story is just set dressing to get you to move around the map, which is true of all games to an extent. And because that's true of all games to an extent, I thought this was just an issue I had with open world games.
But Hollow Knight doesn't have that problem, nor does Psychonauts 2, nor Journey, nor really any other open world game that I've played. This is because -- per the developers -- those maps expanded organically and were built out as the story expanded.
So the issue is that most of those games use mechanics as a vehicle for you to explore the world and story. Fujibayashi's games use the world and story as a vehicle for you to explore the mechanics.
And Fujibayashi is a solid environmental storyteller, but he's also really not a storyteller. It's clearly not what he enjoys doing and not what he prioritizes. He likes planning routes and making puzzles, which is great! Games rely on that skillset! It's very important!
Except, people who play narrative games usually want a compelling narrative more than a trick to get from here to there. Fans will take the long road to find lore at the end of it. Aunoma was better at that, which is why traveling in OoT and WW sucks for 70% of the game but the stories are more devoted and the hints were more compelling, but now he just (by his own description) mostly nods or shakes his head at whatever Fujibayashi is doing.
For comparison, look at Journey, which is ONLY environmental storytelling. There is No dialogue or really any developed characters, and it is one of the most highly rated, heavily awarded games in recent history.
I genuinely did and do enjoy TotK. But it REALLY concerns me if the director hadn't thought of it as directly referencing prior games, despite considering himself a huge fan of the series. Especially because TotK even mimicked the plot of his OWN game (Zelda is whisked away, goes back in time, seals herself in an unreachable state to make a sword to defeat the evil that came from below and then is an immortal who magically turns human because of love, Impa is the only one who knows about it, the sky people inventing the kingdom of Hyrule, etc).
I do honestly assume that's a mistranslation of him not having heard that some people thought it was recreating Ocarina of Time, specifically, because he later seemed to be on team 'It's All Intentionally The Same Legend Being Retold in Each Game' (which is all well and good).
All this to say, I think Fujibayashi is a skilled engineer but that man needs a co-director who really prioritizes story. If Nintendo gets him one we'll probably get a really good game out of it.
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