(machine speech)

On Jyn, whom I love like burning

I’ve been thinking about making this post for a while now, and I’m finally at a point where I think I can articulate all of my thoughts.

Two of the criticisms I’ve seen about Jyn are as follows:

  • The movie doesn’t give us enough information to be able to fully understand her.
  • The change in her is too abrupt, making her arc seem unrealistic.

I, of course, disagree.

The film tells us the following things about Jyn: she had parents who chose, early on, to rebel; she had a close relationship with her father; she had to flee her home, alone, at a very young age; she watched agents of the Empire kill her mother while her father stood by; she was raised by a soldier as a soldier; she was ultimately left behind by said soldier; she is desperate; she is a lone wolf. From all of this, we can discern that she has been abandoned by one father figure and “betrayed” by another (Galen did not actually betray her, but consider how the events on Lah'mu might look through the eyes of a child: “Dad, Dad who is great and whom I love and who says he loves me and will protect me, just let bad people kill Mom and went with the bad people instead of coming after me”); that her childhood was difficult, violent, and traumatic; and that she has difficulty interacting with other people (which is a direct result of the former points).

The film also tells us that, beneath her tough facade, she cares, and that she maintains a firm moral center positioning her against the Empire. That’s why she says that she prefers to believe that her father is dead; that she rescues the child in Jehda; that Saw asks her, “you don’t believe in the cause anymore?” Her apathy is feigned. It’s a product of the fact that, post-Saw, she shut down and began surviving just for the sake of it, because she was littered with wounds that would not heal.

When Jyn says to Saw, “it’s not a problem if you don’t look up,” she doesn’t actually believe it. Watch her: she pauses, and her mouth quivers, and the words come out mealy. It would be easier if she believed it. It would sync up with her trauma. But because she knows right from wrong, she can’t say it with conviction; she can only deploy it as a “gotcha,” as a set piece in an argument. She is trying, very poorly, and as a self-defense mechanism, to convince herself of a convenient fiction.

The reason she becomes a beacon, a “speech machine,” after watching Galen’s message is because said message resolves 95% of what she’s been going through. It tells her that her father did not actually betray her, that he has always stood against the “bad people,” that he wants her to fight against them, too, that he’s actually paved the way for her, for everyone, to do it. He’s been steadfast and true, something the people in her life, up until then, have decidedly not seemed to be.

Jyn doesn’t change, after Jehda. She just takes off her mask.

To that end, Cassian’s “welcome home” works on two levels: it welcomes her into her found family, into a group of people whom she can trust and rely upon and who believe in her as much as she believes in them, but it also welcomes her back. She is the prodigal daughter, showing up on the doorstep of her childhood home (the rebellion, lower-case-r because it’s the spirit, not the organization) after having worked through all the shit that made her leave.

Okay so this is super random but I saw a post a few days ago about Dr. Doofenshmirtz of Phineas and Ferb and father’s day (I cannot find it for the life of me so if you know which one I’m talking about let me know) and I was thinking about it just now and I realized…Dr. Doof’s backstories are the perfect way of thinking about villain motivations. From what I remember, almost every one of his evil schemes were based on some kind of traumatic experience. Each scheme involves some kind of crazy and outlandish machine and passionate speeches about the evils of lawn gnomes or whatever he’s angry about. BUT in the Christmas special he can’t come up with a reason to hate Christmas and therefore has no motivation to go through with his evil plan to ruin Christmas so he sort just goes along with it because “he’s evil” and it’s all just so pointless. WHICH IS EXACTLY HOW IT SHOULD WORK. Just like Dr. Doof, your villain needs a legitimate motivation to go through all the work and be passionate enough to fight with everything they have against the protagonist. Without it they’re boring, easily thwarted. and kind of listless. As goofy and stupid as some of the backstories are for Dr. Doof they make sense to him and that’s what makes for a great villain.

anonymous asked:

i just realised that bendy has basically none of his face funcitions. he cant emote diffrent emotions/speak. since he doesnt have any ears he most likley cant hear shit. and he cant see

Actually, Alice’s dialogue from Chapter 3 tells us that not only can he hear, but he can hear extremely well:

“Have you met him? The Ink Demon? They say he hears everything. Every creak of the floor. Every rustle of paper.“

  • Machine: WHY? WHY WAS I PROGRAMMED TO FEEL PAIN?
  • 9S: It's okay, 2B! They're just robots! They're just mimicking random human speech!
  • Machine: I AM VERY FRIGHTENED AND I DO NOT WANT TO DIE
  • 9S: What could be making them choose to say those completely random words? 🤔

T H E   M A C H I N E R Y

There’s a time when the operation of the machine becomes so odious, makes you so sick at heart, that you can’t take part; you can’t even passively take part, and you’ve got to put your bodies upon the gears and upon the wheels, upon the levers, upon all the apparatus, and you’ve got to make it stop. And you’ve got to indicate to the people who run it, to the people who own it, that unless you’re free, the machine will be prevented from working at all.

|| Wretches and Kings - Linkin Park


this is a story blog:  Start || Next ->

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Promotional poster for Williams’ Gorgar pinball, 1977.

Gorgar was the first pinball machine to feature speech sound effects, giving the titular demon a vocabulary of about seven words.  Unfortunately, an unfixable bug in the machine's ROM code meant that if players inserted coins while the machine was speaking, credit would not be given. 

As a fix, Williams sent operators a decal to be added near the coin slots reminding players to wait until Gorgar shut up to give him their money.

My Pitch for how to rewrite Arrow.

So, a while back, after me and my brother had a chin-wagging session on why Arrow was a legitimately terrible show after Season 2, I decided to do a little think piece: say I was tasked with rebooting Arrow a couple of years down the line. How would I do it? What would I change (a lot)? What would I keep the same (not a lot)? I decided to sit down and write out a basic outline for a rewritten Arrow Season 1.

…two weeks, 2000+ words and another basic outline for Season 2 later, I am pleased to present my pitch for Arrow Season 1 under the cut to anyone who might give a shit.

WARNINGS for: discussion of violence, mental health and swearing.

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Some great discovery associated with it may hereafter make our most sanguine forecast of today seem poor and mean beside the reality. That its collections must increase is the law of its being. To it are coming, and will continue to come, things rich and rare from the four quarters of the globe. No limit can be set to its expansion along the lines already so wisely laid down, nor to the results which may flow from it. This is the century of wonders, and its closing years are like to be the climax for all which have preceded them. Men of science tell us that the problem of aerial navigation is on the eve of solution, mainly through atmospheric observations and the study of the motion and structure of birds, carried on it part in collections like this. It is said that the mighty power of electricity has not even shaken off its swaddling clothes, and is yet to tower before us like genie of the Arabian tale from the unsealed vase. If these things be true, and if other revelations of which we do not even dream are to remake the world in these or some of these, it may well be that the institution will have an honored part.
— 

Mr. Edward G. Mason, President of the Chicago Historical Society, “The Message of the Museum to Chicago and the World.” 

Field Museum opening day and dedication ceremony, June 2nd, 1894. 8,000-10,000 people in attendance. 

Reading this passage gave me chills, putting myself in the position of those at the ceremony, their place in time and history. The fact that when the Museum was opened - the same collections I work in today - that aerial flight was on the horizon, and electricity was in its earliest, infantile stages, is awesome in every sense of the word. Many of these words have endured* more than 120 years and uphold the mission we carry out today – No limit can be set to its expansion along the line already so wisely laid down, nor to the results which may flow from it. 

If these people thought then we were at the brink of discovery, then now we are just beginning the gradual downward slope into the infinite spiral. At the center of that spiral lay our increasingly important museums and the collections they house. 

*some have not..

I haven’t talked about the Fringe finale in a while, so hey, let’s do it - esp given like the semi-recent trend of works wrapping up in a Cheesy Domestic Mess - probably 10 popped into your mind right now.

In so many of these Life Or Death! shows, manga, books, etc. we somehow oversimplify everything with a timeskip & domestic life.  Every woman’s a homebody & everyone’s hooked up with someone else.  Kids are everywhere. Things are peaceful.  Loose plot point are loosely tied.

I’ve been pissed off at SO MANY of these “endings” because… they seem so… lazily constructed.  Uh uh uh shit how do I end the story?  OKAY LET’S MAKE MARRIAGES & FAMILIES & MAKE SHIPPING WARS WORSE NAILED IT GOT IT.

But the “domestic” ending WORKS for Fringe, specifically for Olivia.  & for a lot of critical fans who say that it’s contrary to Olivia’s character…. 

… um… you might want to analyze Olivia again.


TL / DR: Given the struggles Olivia has had to overcome [insecurity over womanhood, motherhood, & relationships] a “domestic” ending is so rewarding. In the finale, Olivia FINALLY, after 5 aching seasons of self-loathing, self-doubt, & self-harm, Olivia loves herself.  Olivia values herself, & all that comes with that.  Olivia finally views herself as being “good enough” - a good enough woman, wife, & mother.  A “domestic” ending is deserved.

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yup Jack Zimmermann is 100% lowkey bothered when people call him a hockey robot