I love your take on Crowley!

I know that the early, non-Diasomnia stories aren't really your thing, but are you reading the novels at all?

I have been following some of the fan translations and the second book seems intense! Would love to hear what you think about them.

thank you! 💚💚💚 I'm not really sure why you think I don't like the earlier arcs though, I love pretty much all the characters and their storis! (I think 5 and 1 are my favorite of the past episodes, though 6 infected me with the Shroud brainrot something fierce.) I just...ESPECIALLY love diasomnia. :') but there is room in my heart for all of these dweebs! like, who among us is not just as ride-or-die for Adeuce as they are for us.

that said, I don't really follow the other adaptations like the manga (aside from a dip-in just to see the new Yuus) or the novels, though I keep meaning to check them out! I do like seeing the differences between the different forms of media, and how certain things get adapted one way or another! but alas, time/a lack of accessibility stands in our way more often than not. :( someday...someday I will have time to consume all of the media...

the qsmp is such an interesting project, like just listening to everyone in a call all theorizing about everything going on as well as we all are. you can see how invested everyone is in it and it's <3

persona 2 doodles

There's this weird phenomenon where the people who are really, really invested in Campaign 3 being The Best try to argue that it's the most closely bonded party. when in fact the absolute strongest material with Bells Hells thus far is them realizing with a shock that they've spent almost three months alternating between "my way or the highway" and smoothing things over to the point that they almost shatter along with Ashton and realize that they absolutely cannot go on a time-sensitive, mission-critical journey to save the world without stopping to take a team-bonding vacation.

And to be clear, this rips, but it feels as though while Campaign 1 and Campaign 2 fans might disagree on their favorite campaigns, they do like their campaigns for what they actually are and simply have different preferences with regards to what kind of story they like. This particular flavor of Campaign 3 fans, and there's a decent number of them, only care about winning on the most kindergarten-ass "all you need is love 🥺" axis (also, shades of the bean-counting/points approach to media analysis) but as a result they put forward an idea of the campaign that's simply not the reality and it's like, do you like Campaign 3? Or do you like the fanfiction version of it you wrote in your head based on the first 10 episodes and into which you have slowly dissolved your brain? There's plenty of valid reasons to enjoy or even prefer the campaign, but it's easily the most dysfunctional party and that's fine!

not to get ahead of myself but thinking abt future opla zolu made me a little emotional bc depending on how many seasons the show manages to get, there's high chances of seeing so many of luffy and zoro's moments. and the thing is - there's a lot of them? their relationship is built upon all these moments and interactions, some small, some big, some when they're not even together but still end up referencing or mirroring one another in some way. it's just so good. I can remember more than few off the top of my head in alabasta, jaya, skypiea, water 7/enies lobby, thriller bark, sabaody etc and that's just pre-timeskip. opla has so much potential to go absolutely bonkers with these two I'm unwell

related ramble: genuinely if the part of decked out that appeals to you is "incremental progress in which the players must learn the map bit by little bit and also understand when to turn around and bail to learn more of the map later in another run", you don't mind games that are hard, and you like rpgs. please play etrian odyssey. please they're such good games and no one ever talks about them. please,

My hottest take of all time is that Mike is (was) the main character of Stranger Things.

Now, do I think he still is? No. Not really.

TBH I would argue that ALL the OG's are main characters in their own way at this point, with them all getting somewhat similar amounts of screen-time across the board by s4.

But if we're talking about the first two seasons, Finn was indeed credited before both Millie and Noah. The only actors that were credited before him were Winona and David (respectfully).

Just rewatching s1-2, you can see very clearly that Mike is being framed as the main character, with his perspective being favored in big group sequences, with us following him places that we don't really follow others, and for longer periods of time.

What I find interesting, is that even though Noah revealed recently that the Duffer's have been slowly building up/hinting at Will's feelings for Mike since the beginning, it's Mike whose perspective we were usually seeing in all those moments.

In s1, we see Mike looking for Will, with Noah only having like a handful of scenes that entire season. We also get more of a focus on Mike's reactions in comparison to the other party members.

In s2, we see Mike making every effort to support Will all season. It's Mike whose reaching out to Will constantly, calling to see why he's not at school, going by his house, sleeping over for days and staying by his bedside at Hawkins lab. Although Will arguably plays a bigger role in the upside down aspect of the show this season, a large portion of Mike and Will moments focused on Mike's feelings for Will being shared through Mike's POV, and not so much the other way around.

It isn't until s3 that Millie starts being credited before Finn (and respectfully so, as she was arguably bringing in more hype in terms of fandom excitement back in those days, so I do get it). And so we're arguably going from Mike centric (s1), to Will centric (s2), to El centric (s3).

As a result, we also started seeing less of Mike's POV. Though, to be fair there are 10+ new characters joining every season, so EVERYONE is getting less screen-time, every season.

But isn't it so convenient, that when we start getting less insight into Mike's POV, he starts acting strange...? And we don't really get outright answers as to why? Answers that we would probably have if we had Mike's POV as much as we used to?

S3 is when we started getting Will's POV more when it came to him and Mike's relationship. Their dynamic sort of flips between s1-2 vs. s3-4.

Not to say we never get Mike's POV anymore, but when we do, it's hard to discern and so most people overlook it completely on the rare occasion that it does pop up.

Anyways, this whole concept reminded me of the main character shots we got at the end of s4.

These were shots that had multiple characters in the frame, but with only (1) person specifically at the forefront...

YALL KNOW WHAT THIS MEANS???

Arguably, these three main characters storyline's are tied together in a substantial way, and how it all plays out could have been foreshadowed, by the very order and even blocking of these shots.

Think about it.!?!.

Mike was arguably the main character of s1, which means getting his POV at the forefront again would be going back to the shows roots.

Will is arguably the main character of s2, and so blending Mike's arc (ending with Mike hugging Hopper hmmmmmm... Mike accepting his sexuality??) with Will's unreliable narrator arc being resolved (ending with Will and Mike side by side hmmmmmmm... Will getting the boy??), and this combined with Will's connection to the upside down, blending perfectly with his wonder twin, El's storyline (El walking passed Mike and Will.... El dumping his ass again??), with her now at the forefront as the main character, arguably just like in s3, except now she has full autonomy for the first time in the show, she knows her worth, she's accepted herself. And this all coming to a head with those three and everyone in the shows arcs being resolved by the end??

BITCH???

im gonna be honest, i love gay headcanons, but a bunch of characters people claim are "canonically" gay just have a close relationship to their friends. like some of you haven't platonically let someone play with your hair. also why do i keep seeing it in relation to incest shut the fuck up shut up siblings can hug each other

"You know, he's the yin to my yang. He completes me."

So the funny part about Dan repeatedly calling Perry the yin to Doof's yang (besides the fact that he can just freestyle some Greek tragedy level bullshit about Doof & Perry's relationship on the fly for Radio Disney or an episode commentary track) is that at face value you might also be like, okay but why is Doof the "yang" (light) and Perry the "yin" (dark)?

I didn't say good vs evil because that's not what yin and yang are about. As a concept it's one of those terms from another language that have variable meanings in English depending on who's using it and why, but its most enduring interpretation - with the disclaimer that I am not a philosopher, just someone who is far too invested in overthinking relationships in a kid's cartoon - is the idea that they are opposing but complementary forces of the energy that the universe operates on.

It's a balance. According to Lao-Tzu, "everything is embedded in yin and embraces yang; through [vital energy] it reaches [harmony]". Two sides of the same coin, sun and moon, my other half - you get the idea. It's not hard to see why Perry and Doof are complementary but opposite; one can't exist without the other: Perry all but gives up evil when Doof has that brief dalliance with Peter; Perry has exactly two POV songs in the entire show and both of them relate to Doof, one of which explicitly states "[his] life, it seems, is empty" without Doof's scheming and he "gave [Perry's] life heroic cause"; and he straight up has no idea what to do with his life and makes the saddest platypus sound ever when Doof bans thwarting as Tri-Governor in LDOS.

On the other hand, Doof is a lot easier to see - partly because he actually talks (though Perry is actually one of the most facially expressive characters in the show - by necessity - though I digress). He's overt about his affections and very clingy (a result of childhood trauma and abuse/neglect by his parents) because Perry's his only real friend. He all but begs Perry to thwart him in that whale episode, he became really upset when Perry seemed to be helping him in the episode with the Dull-and-Boring-inator but was just using him to fix the problem with Phineas and Ferb, and he can't bear to leave Perry behind in Road to Danville, just to list a few sillier examples off the top of my head. Really, the entire B plot could be used as evidence.

(There's also the fun dynamic of Perry being an animal that has human-level sentience, and Doof being a human that was raised by animals - ocelots - during some of his formative years.)

So they're irrevocably intertwined. One of the most important characters in each other's life, according to Dan from SDCC 2015. The LDOS ending song even puts Perry smack dab in the middle of the Doofenshmirtz family with Heinz, Vanessa, and Norm - two other characters deeply wrapped up with Perry as a result of Doof himself. I mean, look at them:

Yeah, this was an excuse to make you look at one of my favorite scenes and witness Perry's hopelessly fond smile, not sorry.

Anyway, back to yin-yang. They were originally ascribed to just "day" and "night", and eventually came to also mean "movement" (because you work during the day), and "rest" (because you sleep at night). In terms of qi, they embody heaven and earth, and in the collection of essays of the Huainanzi, "yang is generated from yin and yin is generated from yang [...] sometimes there is life, sometimes there is death, that brings the myriad things to completion". Technical details of Chinese philosophy aside (which I'm sure exactly nobody is considering when they call someone the yin to their yang - it's really just the "you complete me" part), the words themselves also have various opposing definitions: positive/negative, active/passive, sun/moon, overt/covert, etc etc etc you get the idea.

In terms of their relationship, Doof has the more active role. He's one who makes the crazy inators and plots elaborate traps and monologues everyday; Perry usually just reacts to that accordingly. Doof play-acts at a lofty, larger-than-life "evil", while Perry keeps him grounded ("you are my rock" and "having you around just makes me feel, you know, safer"). Perry isn't necessarily a wholly passive character, but also, like, a lot of his plot is just Shit Happens and Perry Has to Deal With It. Doof is overt about his "evil" schemes and can't stand even white lies. Perry spends his entire life hiding aspects of himself and keeping secrets from his loved ones, and he has a whole song in CATU about being an unrecognized hero. One of these characters is living in the "dark" more than the other...

Doof is overflowing with emotions - most of them negative, but also love: so much so that his daughter feels smothered, because a lot of that love (while borne of good intentions) is misguided, and Doof fails to actually listen to her; it takes a few rocky starts (helped along by Perry himself) before they get to the point where Vanessa considers her dad a "misunderstood genius" and convinces him to give up evil. On the other hand, Perry keeps his cards close to his chest - it's not that he doesn't know how to emote (he clearly adores his boys in ATSD and he apparently is happy to hang out with Doof as a friend outside of his job enough that he has a whole wallet of photos of them just goofing off together), he doesn't because of necessity. He's better than anyone at separating his work life (fighting evil) from his pet life (pretending to be a mindless animal) from his personal life (how much he loves his family, watching his silly dramatic soaps, having a petty streak and sassing Monogram a bit, is genuine friends with Doof).

As a result, he is full of emotions he rarely gets to express - around the Flynn-Fletchers specifically, because Doof does know he's sentient, which is another reason I think they click. Doof gets the single-minded attention he never had; Perry gets the treatment as an equal he never had. They both gain a friendship, and a new sort of family. There's a part of their life imbalanced when the other isn't present.

The yin and the yang. They complete each other.

for me personally i kind of like the idea that the only time louis and daniel before now was the night of the original interview.

to me the interesting thing about their dynamic (and part of what makes it romantic) is the weird way you can confide in a stranger things you can't tell people who are actually a part of your life - like the contrast between this person not knowing you and all yet somehow you're telling them your darkest secrets, and they're seeing through your bullshit in a way people who know you don't (or maybe do but won't vocalize). and yeah it's a combination of chance and luck, but there's also a genuine connection that makes this stranger the one you choose to talk to out all the other strangers you come across.

and the idea that maybe that moment, that bond, could be so strong it could pick right up many decades later compels me. there's an intimacy to like, a past relationship, obviously, but i think there's also an intimacy that comes from knowing 'i only spoke to this person once but i never stopped thinking about them and maybe they never stopped thinking about me?' but you hooked up once or only had one conversation and you talk yourself down say be realistic because it was so brief and so long ago you, how could you not be blowing this out of proportion, but then you meet again and it hits you all over again like a ton of bricks.

And our free movie of the day is: To Wong Foo, Thanks for Everything. Julie Newmar.

You know, considering the heavy topics this movie covers (transphobia, homophobia, misogyny, racism, abuse, assault), it's surprising that the first thing I think of when I was done was "joyous". But it is joyous, not in a naive, nothing bad can happen way, but in a fiercely defiant, vibrant way. Yes, there are bad things in the world and bad people, and you know what we do? We pick ourselves up and we create beauty and love to crowd it all out.

The movie is a product of its time (1995) for sure (outdated terminology, the blurred lines between drag and trans people), but it's also compassionate down to its bones. It's driven by Vida, who is so deeply caring about everyone around her it sometimes crosses into meddling, but it's supported by Noxie, her cynical best friend with a heart of gold beneath, and Chi-Chi, who's still learning the ropes but eventually finds her feet. The townsfolk are rural, old, odd....and never condemned or made fun of for it, and even the group of local roughs get a chance to clean up their act (after some suitably karmic justice). The only people who are unsympathetic start to finish are Carol's abusive husband and the villainous sheriff, because they should be. The fact that the film doesn't hide from the homophobia and transphobia of the world makes their determination to survive and thrive anyway all the sweeter.

It's not a film for everyone, you should probably check out the trigger warnings, but in terms of queer cinema I'd say it's more than earned its spot.

nightmare on 51 road to nowhere street

loren ; former ex-con, working in the strangetown military. occasionally a rancher caring for his goats and sheep. formerly used to live in the bay but moved since the tragedy that struck once again over there, now he resides in his ranch, with his younger sister & the new roommate.

sasha ; used to work as an intern in the big city but after an accidental mistake on her part when it came to some paperwork, she was fired without thought. moved in with her brother loren, though the material girl isn't used to the ranch-work, she has her own ways to occupy herself while out in chestnut ridge town.

keenan ; championship extreme snowboarder, but after a controversial take that has taken a sour turn on his career and forced to take a break, keenan has resorted to livestreaming in his spare time. on his way back to copperdale, his car broke down and stuck in chestnut ridge town and has rented a room in the schuler siblings ranch.

Sort of a distant tangent off my post about Ashton, but I'm growing more and more suspicious of the fandom claim that there's no time for small RP moments in Campaign 3. I do think that it's been challenging to get deeper party bonding or serious conversations that aren't about the big philosophical questions they're facing, since those do take much more time; but then I think about Calamity, or Candela Obscura. I can genuinely give you at least a couple paragraphs about pretty much every relationship in the two Circles, or in the Ring of Brass. I can also point to no shortage of small moments between characters in the Mighty Nein Aeor or Vox Machina Vecna endgame episodes, which were all extremely plot-heavy and fast-paced, and D20 consistently nails character relationships in a fraction of the time.

I think it really does come down to, as Brennan Lee Mulligan always says, the character creation phase. Laying down a solid groundwork in which everyone has a detailed, rich backstory and sense of personality and relationship history (in the case of characters who knew each other prior to the start of the series) is absolutely crucial, and even in the case of characters who don't know each other before going in, a good amount of time spent in character creation ensures that it's easier for them to develop those interpersonal relationships on the fly. I know in actual play there's some degree of finding the character as you play, but there are games for which there is a very short runway, and I don't think it ever hurts to do more extensive character prep than the bare minimum. And if there are gaps, I think it also helps to go back and fill those in mid-way, away from the table - Travis clarifying Chetney's backstory being a great example that allowed the history of Chetney and Deanna to feel realized and full, despite only a few episodes.

I'll also be blunt: most of the time when people complain that there aren't moments because the plot keeps moving...they're mad about shipping. Which has always rung hollow to me. It was a common complaint in C2, that no time was taken for character relationships, despite them taking an entire half of an episode for the Beauyasha date and despite no shortage of moments for all three of the other couples (and plenty of platonic moments between friends). The issue was never a lack of time; it was that the characters they wanted to talk to each other didn't actually have the relationship in canon that the fans had dreamed up, and so, when the chips were down, they went to other people.

It takes two seconds to say something like "I hold their hand", even in the middle of plot-heavy adventuring. If someone doesn't say it, it's rarely the GM rushing them; it's the player either choosing not to do so, or not remembering to do so, and either of those is quite revealing regarding how the player feels about that relationship and where it stands in their priorities.

The more I watch it…

… I definitely think the reason the Nate and Eliot relationship gets overlooked is that it’s very tacit and unspoken. These are two guys who do not discuss feelings, at least not directly, instead they just steadily… Fall into a pattern, they develop a system. The trust and loyalty between them isn’t spelled out in long speeches or discussions; it’s in the way Eliot starts to look to Nate for a cue if he should engage; Eliot allowing Nate to pull him back; it’s Nate never trying to force details of Eliot’s past from him; the way Nate only ever doubts Eliot once and then never again; the way Nate looks at Eliot after being forced to take a drink in the Bottle Job, or any other time; their conversation about the bank robbery in the Bank Shot job; Eliot being willing to kill for Nate; no matter how far on a bent he is, it’s in Nate never asking him to; it’s in Eliot and Sophie worrying about Nate’s destructive behaviour and his drinking; Nate telling Eliot ‘get them to the chopper’ rather than ‘get to the chopper’; it’s every time Eliot speaks out about a play or choice he doesn’t agree w/ and calling Nate out; it’s them sitting in silence in the bar; it’s the way Eliot falls in at Nate’s shoulder, or shifts in front of him in case of threat; it’s Eliot doing things Nate asks even when he complains; it’s Nate honestly responding when Eliot confronts him; it’s the Zanzibar Job; Eliot being mad Nate (and the others) left the baseball game early; Nate trying to protect Eliot from being forced to do the fixed fight; his panic at thinking Eliot’s been shot for a moment; Nate sounding for all the world like a proud dad during the country music ep; the exchange at the end of the cheerleading ep; them both harping on Hardison to tip the messenger; Nate trying to curb Eliot’s flirting; watching sports together; it’s the tiny glances they exchange or they way they sometimes move in sync.

Leverage Inc has no hierarchy, not really, not in the usual sense, but they fill their own roles based on their strengths and personalities. There’s no outright decision, no official acknowledgement, but they don’t need that. Nate and Eliot settle seamlessly into not just the roles of a mastermind and his loyal, trusted, and competent lieutenant and enforcer, but also something reminiscent of a father and an eldest son. They are actually one of the closest bonds in the whole crew (which is comprised of very close bonds, to be fair, but hopefully you get the point), they just do it so naturally and almost in the periphery that it can go unnoticed/understood very easily.

I love the different types of Youtubers/Streamers playing YTTD

Theres the ones who use 100% of their brains to create theories and to understand the puzzles

And theres the ones who are having the time of their lives just goofin' around with the characters and saying the most unhinged shit

And i love both

you get to resurrect one of these Death Note characters so that they may go back to the past and "fix" it... you can try to tell them what you think they should do, but, oh no, the super convenient magical Death Note loophole that has allowed this resurrection to happen doesn't leave you with a lot of time to explain!! it's ultimately up to them!!