20 year cycle

but-have-you-considered  asked:

I've been reading through TES in-game books and a question came up- how do you tell if a book is historical or fictional? Granted, there's historical fiction like Marobar Sul's dwener stuff, but how do we tell that as the player when it's not stated?

Much of the time, you can’t. Not reliably, at any rate. You’ve got to use context and your own judgement. Often, books that are fictional still contain important historical details, and books that are historical are, in part, fictionalized. 

That said, here are a few things I think about when trying to make the determination. 

Notes. Books sometimes include annotations that speak to their origin or veracity. Marobar Sul’s works, for example, have big ol “this stuff is fictional” disclaimers at the bottom of each text. Other texts state their historicity outright, or are noted to be historical documents. 

Format. If something is a narrative, especially if it features dialog, it is more likely to be fictional or fictionalized. 2920, for example, is based on historical events, but it’s author had no way of being in all those places at once and knowing what exactly the characters said. Similarly, if the story features characters who aren’t the sorts of people to be remembered by history, it is more likely to be fictional. An essay (a work not featuring characters or a storyline), on the other hand, is more likely to be about a historical subject.

Comparisons. How do the events and characters of the book, as well as its general tone, stack up to what we’ve seen in the rest of lore? Obviously, there’s some leeway here, since games cannot depict things as the “truly” are in lore, and lore has changed quite a bit in the nearly 20 years since Daggerfall. To cycle back to Marobar’s stuff, it doesn’t really mesh with everything else we’ve seen and been told about the Dwemer, so we can safely assume that it is mostly fiction. 

song character aesthetics: joseph kavinsky // dream - imagine dragons

“He tried to kill me,” Kavinsky replied. His eyes glittered. He had no irises. Just black and white. The line of his smile was ugly and lascivious. “And he doesn’t always do what he means to. And anyway, I’m harder to kill than that. You kill your old man?”

DV #8: TAGGE IS BACK

RED ALERT RED ALERT once again someone is being cruel to my very small and fragile child! 

Can I just say how much I love that we’re getting a comic that shows us Vader, one of the most iconic badasses in movie history, at his lowest? Not only is he vulnerable in his private life, but he is getting humiliated and kicked around in front of God and everybody and its all canon. It’s both a fascinating take on Vader specifically but also an amazing relief from Stoic No Feeligns Space Marine. 

OK enough of that 

This nasty barb is aimed at not-Ackbar, but I read it as a jab at Vader as well– Tagge probably doesn’t know about Vader’s past as Anakin Skywalker, Hero of the Clone Wars, but even if he did it wouldn’t stop him from treating Vader like a talking dog that murders. 

The new EU tossing Vader’s position as Supreme Commander of the Imperial Navy still irks me, because Vader has proven himself to be a very talented general/tactician/strategist whatever, and leaving him to hunt down Jedi seems a waste– especially if Palpatine isn’t overly concerned by surviving Jedi (though that piece of Dark Lord canon may no longer be relevant). But I wonder if that waste of Vader’s talents is being highlighted here– intentionally– as part of the ~20 year cycle of degradation at the hands of his master that’s brought Vader to this place, the absolute low point of his terrible, terrible life. 

It also ties into the theory that each of Vader’s “replacements” represents some talent or aspect of him that makes him such a dangerous warrior– not-Ackbar as the strategist, Revenge Science Lady as the technical specialist, the Wonder Twins as trained fighters with uncanny abilities, and not-Bossk as the sheer strength and rage that drives him. Not-Bossk is already dead, and all his other opponents are soon to follow, because their talents are great but not as great as Vader’s combined and THERE CAN ONLY BE OOOOOOONE 

Also, because ESB 

LUKE IS ALREADY GIVING VADER HIS SELF WORTH BACK “I’m going to save you”/”you already have” oh my goddddddd 

Holy shit! Vader isn’t allowed to have feeling anymore!! HE MIGHT AS WELL HAVE STAYED WITH THE JEDI. This has to be intentional. There’s now a continuous line from the way the Jedi used him during the Clone Wars and how the Empire is using him now. Holy shit. Someone help Vader 

You really need to pick up the comic and read the whole scene to get a feel for just how degrading this is for Vader. He’s lumped in with the replacements– like he’s no better than them– LIKE HE HAS NO MORE SENIORITY THAN THEM. I really can’t articulate how badly I want AU fanfic where this terriblenes is taken to its horrible, logical conclusion (it involves winter soldiering)

SWEET JESUS! Palpatine is fully aware of how Tagge is treating Vader they are colluding in this. MERCIFUL GOD. Transition period! He is openly acknowledging Vader’s demotion and implying that it is permanent! Holy shit! Holy shit! Holy shit! 

HANG IN THERE BABY SOON IT WILL BE ESB AND YOU WILL BE TOP DOG AGAIN

(but still a slave to the Emperor :/) 

London tips pt.2: Theatre

Part of this series.

The basics:

What are prices like? Anywhere between 5 and 180 pounds for a standard seasonal show in central london. A fiver will get you standing at the Globe, but an Opera at the ROH could set you back 200 quid. An average west-end show will be between 30 and 90 pounds.

What’s the vibe - aka What do I wear? Anything you like, babe. London theatre is pretty laid back as a whole, so don’t fret if you didn’t bring your opera gloves. Any show will have its share of people in their full-on Sunday best, and people fresh from work, and people in trainers. You may have a gran in her pearl earrings on one side, and a teenager in a band shirt on the other side of you – approximate somewhere between that. All are welcome.

How do buy a ticket?

  1. In advance: If you live within reach of London/plan to be here for theatrical shenanigans, as soon as you hear about a play (an ad, an email, a newspaper article, rumour, anything) get online and get buying if you want the day and seat of your choice. You snooze you lose. The more popular things (read: anything with a celebrity) or the smaller venues (like the Donmar) can often sell out, or just sell out all the good seats. Those that don’t sell out may just leave you with the back rows if you don’t move fast. A simple google search will generally direct you to each theatre’s own distributor: this can be their own branded website, or sometimes one of the larger management companies like Nimax or Ambassadors theatre groups.
  2. The individual theatre’s street box office: I cannot stress this enough: If you are able to, GO IN PERSON. Rocking up at during business hours to the actual theatre you want to go to and speaking to the lil baby drama student on duty in the little glass booth will get you such treasure. Just tell them what you want, and hopefully they can help you out as see everything they have on their all-powerful booking screen and are generally sweethearts – on short notice this can be better than buying online, as theatres often have a volume of seats they only release on the day, and you can ask them for things like ‘do you have anything on a row-end/certain time/certain day/at this price’ or ‘can you sell me a standing ticket’ (for the sold out shows), or ‘where do I stand if I want to queue for returns’?.
  3. TKTS: if you wanna see the big hits (Phantom, Lion King, Book of Mormon etc), the jukebox vaudevilles (musicals based on movies, or based on ‘the songs of that popular band’), or the big celeb seasonal draws, then there’s a freestanding booth in Leicester Square called TKTS that is the big reputable ‘on-the-day’ discount seller for a lot of the big west-end crowd-pleasers. It’s on the south side of the square, and clearly-labelled TKTS. They do the big musicals and usually the west-end transfers of other theatres whose shows hit the big time (eg the NT will move its popular shows to a west end venue to clear their decks for more work at their main house, and allow them to run the play for longer) It’s same-day, so go ready with a free evening.

Rundown of the main theatres under the cut:

Keep reading