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@aurantia-ignis
Metal

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omg your post is sooooo right thank u for drawing that.... march is honestly such an ass like wdym the only reason he's nice to ppl now is cause he wants to get in ur pants? fuck off man
Anon, thank you, but I'm afraid you may have misunderstood one thing...
I do not actually hate March.
While I do disagree with parts of his writing, in particular the execution of it, I don't actually think that March is as terrible a person as you believe. While I drew that comic because I was disappointed that that event had ended with a confession of love there, I do not believe that that the reading of 'He only apologised and was nice to MC because he wanted her carnally/romantically' was what the game writers intended.
Everything (almost) I wrote in the last panel, that I feel like the game should have given us, are things that have been sort of hinted at throughout March's writing. That March had been trying to prove his own strength and abilities for ages. That he was still feeling hurt by his parents' death, even though he logically knew it wasn't their fault. That March didn't trust the MC due to their lack of experience, and that March cared for Mistria as a whole. That in spite of his grumpy attitude, everyone in Mistria, not just his brother, knew that his heart was in the right place.
You might argue that that doesn't excuse his treatment of the MC, and I'd agree! MC has done nothing to him, and even goes out of their way to be nice to him (if you raise his affection enough to get the heart events), but he still lashes out at them due to his own fears and insecurities. True, the backstory explains his behaviour, but doesn't excuse it. That's a bone I have to pick with his writing, too.
Still, given the fact that the Mistria writers gave us all of that nuance for him, given that they do in fact have him being nicer to the MC from there onwards, given that the game has also shown us that he does have a caring heart (see: the crochet granny squares Friday Night Inn conversations), I think it's safe to say that the writers had some pretty great concepts for him to be the Jerk with a Heart of Gold. They just failed at executing it, and hence we end up with the unfortunate implication that his change of heart and apology only came because he realised that he had grown feelings for MC.
Ideally, I'd have preferred for the story to have started with Mistria in a worse state from the earthquake (although I won't go into details about that right now), so that while everyone appears friendly at first glance, everyone is also struggling in their own ways. Enter MC, who manages to get everyone to see the joy of helping each other out, who brings Mistria together, and shows March that people do not in fact live alone; they rely on and support each other through the tough times of life. After years of thinking he had to be independent to prevent the hurt from his childhood happening again, after he petulantly ran off to the mines alone without telling anyone, MC tells him that they didn't build Mistria up alone, either; they had the help of everyone in Mistria, including him. That's where his sincere apology happens, and the feelings can grow 2 heart events later.
But of course, Mistria's writers are sticking to a script (of a limited number of heart events) as well as the cosy vibe (no angst no conflict only happy comfy), and so all of this great promise is wasted.
I've probably disappointed you, haha, apologies for that! But I find that I do appreciate the concepts (if not the execution) they wrote for March, and therefore! I do not think March is a selfish ass who only apologises to get what he wants, I think that he's a sadly written character suffering from inconsistent/weak writing, and personally, I can still sort of appreciate the potential in him, even if I don't completely love him.
Thank you for the ask!
People often choose familiar pain over unfamiliar peace. That sounds dramatic, but it is basically pattern learning. If chaos is what your character knows, calm may feel like a setup. If neglect is familiar, attention may feel like surveillance. If love always meant losing power, being loved may feel like being trapped. This is why “just choose happiness” is not an arc. Happiness can be the scariest room in the house.
I've been marathoning Fields of Mistria and my friends told me March gets character development and I was waiting so eagerly for it and I guess my expectations ran away with me

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i was COOKIN with guy
screenshots that made me crazy:
you've heard of death of the author, now get ready for death of the audience: where instead of basing your reaction on a thousand uninformed opinions online, you actually read the text and engage with it
girl help there's people on this post who can't actually read my text
the boys
Analysis so bad you don't even know what it's talking about anymore.
What??
Sarcasm.
This is hopeless.
IT WAS FUCKING
HORRIBLE

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Was thinking of doing Flynn or Yuri Fan art but ended up with Estelle lol;;;;;;
"there's no platonic explanation for this" some of y'all need better friends
"there's no platonic explanation for this" some of y'all need to be better friends
I've been listening to the new soundtracks since they dropped (ATLA Book 3 soundtrack!! Ah! The memories!!) and with the movie and then the trailer for the show... all I can think about is 'where's Suki?!' rn (To be fair, I haven't read the comics, so maybe it's answered there or in that movie I haven't watched yet?)
one day i'm going to make a post explaining how to use early modern english to y'all because i have seen too many people 1) calling it old english, and 2) wildly missing the mark with a Lot of confidence (to the point that someone took a pen and changed "shall" to "shalt" on a sign in a bookstore, which made it the incorrect conjugation of the verb for given subject!)
actually that day is today, with the caveat that i am not a linguist. i'm just an early modernist (specialized in english drama). and this is not an exhaustive course in early modern english! it is a bare bones intro to the basics. if you want to know more, read early modern works or do some googling.
what kind of english is that? let's look at some famous examples of each.
Hwæt. We Gardena in geardagum, / þeodcyninga, þrym gefrunon, / hu ða æþelingas ellen fremedon. <- this is old english. note that it is unintelligible to a modern english speaker. (excerpt from beowulf)
Whan zephirus eek with his sweete breeth / Inspired hath in every holt and heeth / Tendre croppes, and the yonge sonne / Hath in the ram his halve cours yronne … <- this is middle english. it is more intelligible, but it’s still very different from what we speak now. (excerpt from the canterbury tales)
Is this a dagger which I see before me, / The handle toward my hand? Come, let me clutch thee. / I have thee not, and yet I see thee still. / Art thou not, fatal vision, sensible / To feeling as to sight? <- this is early modern english. this is so intelligible that we trust teenagers to read it in school. (excerpt from macbeth)
the english you are using to give a post a medieval or renaissance/shakespearean vibe is early modern english, not old english. (it's fine that you're using early modern english for a medieval vibe; no one expects you to learn middle english for a silly post about knights.)
how do you use pronouns?
'thou' is the informal second-person singular pronoun.
thou/thee/thy/thine
thou is the nominative form. you can use it for the subject of a sentence -> thou knowest me.
thee is the oblique form. you can use it for the object of a sentence -> i know thee.
thy and thine are the genitive forms. you can use them as possessive adjectives for nouns starting with consonants and vowels respectively. -> thy leg is broken. thine arm is broken too.
thine is also the possessive form. think about it like the word 'mine'*. -> my heart was once thine.
*'mine' is also used like thine as a possessive adjective in early modern english; you would say 'mine art' instead of 'my art'
ye and you
originally, 'ye' was the formal or plural nominitive second-person pronoun, and 'you' was the oblique form. so, it would be 'ye know me' and 'i know you'. 'ye' fell out of use and was replaced by 'you'. at that point it was already used as singular. but it was still much more formal than 'thou'.
the 'ye' you see in 'ye olde shoppe' stuff is not this pronoun. it is the way that printers who no longer had a thorn (þ) wrote the word 'the' (previously 'þe'). the 'y' in certain typefaces looked like a thorn, so we got 'ye' for 'the'.
how do you conjugate a verb?
you can't just slap a -th or -st onto the end of any verb. those are for specific conjugations. phrases like "i hath noticed" or "he thinkest that" are not grammatically sound. it's like saying "i has noticed" or "he think that".
the -st or -est ending is for (most) present and past tense verbs conjugated with 'thou'
some examples: thou canst, thou couldst, thou sayest, thou goest, thou wentest, thou hast, thou hadst, thou dost (or doest).
'thou' also has a few irregulars. some examples: thou wilt, thou art and thou wast (for 'to be'), thou shalt.
the -th or -eth ending is for (most) present and past tense conjugated with 'he', 'she', or 'it'
some examples: he hath, she sayeth, it doth, he goeth, she thinketh, it moveth
there are, of course, irregulars. the most important one is 'to be', which conjugates the same for this set as it does in modern english.
note: not every verb conjugates this way. for example, past tense verbs might use auxiliary verbs. so, not 'she cookedeth', but 'she did cook'.
by and large, the 'i', 'we', 'you' (or 'ye'), and 'they' conjugations were the same as they are today.
there were also some verbs that were used differently than we use them today, though (some of these fell out of use over the early modern period):
to be -> sometimes this verb is used instead of 'to have' as the auxiliary verb. 'i am arrived' means 'i have arrived', and 'she is come to see thee' means 'she has come to see you'.
to do -> sometimes this is used for the present progressive (i think that's the right name for it). 'he does speak' means 'he is speaking', and 'i do write' means 'i am writing'.
would -> this can be used to express a desire. 'i would i were a bird' means 'i wish i were a bird'
must -> this can be used without 'go' to mean 'must go'. 'i must to england' means 'i must go to england'
will -> this can be used without 'have' to mean 'will have'. 'you'll none of that' means 'you will have none of that'
there are a million other things i'm not covering, like different sentence structures for questions ('thinkest thou...?' as a valid alternative to 'dost thou think...?'), and different contractions ('she'll not' rather than 'she won't') but this post is long as fuck and i have things to do! enjoy! linguists, feel free to correct me on what name of tenses or declensions or whatever i have mixed up.
(psa: the point of this is not to be a kill-joy about other people's posts that have these errors. it's just a little knowledge sharing.)
wait, important additions:
'wherefore' = 'why', not 'where'. think about it pairing with 'therefore'. an example of the two in use:
'my love, wherefore didst thou pretend to see me not?' [babe, why did you pretend not to see me?]
'thy father, from whom we do keep our love hidden, did at that moment walk nearby. therefore i turned from thee that he might not espy us together' [we're keeping our relationship secret from your dad and he was walking by. i did it so he wouldn't see us together.]
'hither' = 'to here', not 'here'. there's a whole set of these, actually. 'whither' = 'to where' and 'thither' = 'to there'. these pair with 'hence' ('from here'), 'whence' ('from where'), and 'thence' ('from there'). an example of some of these in use:
'whence came you?' [where did you come from?]
(pointing to the left) 'thence came i hither.' [i came here from there.]
'and whither go you now?' [and where are you going now?]
(pointing to the right) 'my lord calls me thither.' [my boss is calling me over there]
'very well. get you hence.' [alright, get away from here.]
'whom' ≠ fancy 'who' and this one is just also true today.
'whom' works for the object of a sentence. 'who' is for the subject. in other words, 'whom' receives the action and 'who' does the action.
'whom wrote that letter to you?' -> incorrect! this should be 'who wrote that letter to you?' because 'who' is doing the action.
'whom did you write that letter to?' (or even better, 'to whom did you write that letter?') -> correct! 'whom' here is receiving the action.
okay bye again
this what we need to be doing with our technological capabilities. Fund this shit. ten millions dollars

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idk man sometimes i like it when video game writers are allowed to plan a series of events that happen in a specific order and affect each other in turn to become an overarching narrative, and i don’t mind trusting those writers to take me through those events in the order that is emotionally effective. i don’t really care if a game forces me to go through the forest area first before i can attempt the icy area because maybe there’s things that happen in the forest area that inform later scenes in the icy area. maybe we don't need more superficial player choice open world concepts if it comes at the cost of the ability to write a story with actual significant plot events and character development in each section
dimilix masquerade promo art done in collaboration with @meltypancake! i did the lines while may did the render and background 🥰