So for the past few hours all the lovely angels from the discord chat have been bouncing all our thoughts and theories around Until @newlevelofdesperate and I actually ended up with a pretty realistic theory as to how all this shit is really going to go down yo
So get yourselves a nice cup of tea and settle in because this gets looooong
Mikael, Even and Yousef –
It’s pretty evident that whatever went down in Bakka involved all three of these guys. But I feel like one of the most reasonable explanations here is that Mikael, Yousef and Even were friends. Really good friends. Possibly they knew each other since middle school (like Jonas and Isak) but then Yousef and Mikael began to become distant to Even and instead began to hung out with the balloon squad. Boys who are also involved in Islam. This, we then feel may have prompted Even to learn the Quran, as a desperate attempt to cling onto the friends he could only fear of losing. Of not wanting to be alone.
We then feel like this led him to do something during his mania that ostracised him completely from his school and everyone he knew. We can see from the youtube video that the balloon squad reacted to Even’s name like it was nothing but a joke and an exciting story to tell, which is how we feel everyone around Even treated it. While Mikael and Yousef didn’t have anything to do with the incident or with how people treated Even afterwards, they also didn’t do anything to help Even during the times he needed them either. And we think that is what is eating them both up. The guilt that they weren’t the kind of friends Even needed and left him at a time where he needed them more than ever. Yousef also seems a hell of a lot more emotionally affected by whatever Even did at Bakka, which is why we believe that Evens Bakka story is a lot more directed at Yousef than Mikael who we originally focused on in association with Even’s history. And this is why Yousef’s reaction to Even’s name in the youtube video was a lot more emotional than Mikaels and the boys (who weren’t really emotionally attached at all)
But then of course….what did he do?
Russbuss has always been an important factor to Sana and is continuing to have an importance in her season and her need to prove that she can belong in both worlds, the one with her faith, and the one where she can participate in Norwegian culture and still be Sana. We feel like this could become a problem for her later on. Perhaps the girls eventually succumb to the russbuss previously known as Pepsi Max’s bus. And Sana is not allowed to join because of her faith.
This then made us think that maybe Even’s story connects with his russbuss too. Maybe russbuss is a much bigger theme than we ever thought. The thought came up that perhaps Even wanted to join the russ with his friends Mikael and Yousef, but wasn’t allowed because he isn’t muslim. Maybe that prompted him to learn the quaran? And maybe that is what led him to do something during his mania. Something to the buss perhaps? Just like Sana who is having trouble being a part of a russ because she’s muslim….maybe Even couldn’t join because he wasn’t? Maybe Even wanted so desperately to understand his friends and their religion but no one ever let him? And in doing so, they also failed to understand Even. It was also brought up in the discord chat that Even doesn’t seem like the russbuss type which we agree with, but it makes a lot of sense that Even would do anything to hang onto his friends and the people who he could always rely on (we have seen him do this with Sonja in s3) and when those things didn’t work, the concept of him saying, writing or doing things connected to this struggle during his mania makes even more sense. And to connect the current russbuss drama with the old would be an interesting reflection on both characters and stories.
Even and Sana Mirror
@heltchill brought up this idea that Even may actually be Sana’s mirror, which prompted another discussion on this theory.
We already talked about Even who could have experienced the same challenges that Sana might face this season with the russbus. While Even may have been left out for not being a Muslim , people keep reminding Sana that she doesn’t fit into the concept of the russbus. Mari’s reaction to Sana being a part of the russbuss was very surprised and a little offputting, while Sara made a point of referring herself and her group as superior because they are “normal Norwegian party girls” a comment that fuelled Sana to truly make this russbuss work. And then of course there is Elias, who warned Sana that she shouldn’t be on a russbus because she is a muslim girl. Yousefs reaction here is interesting as he seems annoyed by Elias’s words and he sends Sana a message later on where he encourages her to go for the russbus. This could also be a hint, that Yousef still feels guilty about Even and doesn’t want Sana (or anyone) else to face the kind of exclusion that Even may have faced. We also had a thought that maybe the reason this season parallels evak so much is because Even is actually Sana’s mirror? Julie wants us to feel all of the Even emotions again because his story actually mirrors Sana’s so much, we just need to pay attention to the signs. Maybe.
In regards to the trailer: The trailer made us all assume that the series of events happens in an order, because it was in slow motion each piece of the puzzle fell one at a time. But in reality they all happened extremely fast all at once like a domino effect. So instead of waiting for each story to fall, we should be expecting them all to fall at once. The last episode proves this, by each clip being the start of a separate storyline. Yousana, Noorhell mystery + Vilde and Magnus, Evak and Bakka story, and then the russbuss. So many storylines are beginning at once because when they all begin to turn into chaos that will happen at once too, with Sana standing in the middle trying to fix the chaos she instigated. The trailer we feel like could also be an indication of Even as Sana’s mirror as the chaos starts with her and ends with Even, but when reversed (which is how it was released) it starts with Even and ends with Sana. Which essentially means that Sana is on one side of the chain with Even on the other….just like a mirror. And thus he is probably the actual beginning of all the drama and not Noora, even though that is who we all have our eyes on at the moment, as she is brewing to a boil before our eyes. But then again it is all going to fallout simultaneously anyway.
I also wonder if Mikael’s part in this is maybe that he struggled to hold onto both worlds just like Sana may find difficult this season. Perhaps he wanted to connect deeper with people who share his faith while still being friends with Even? But when doing so he just ended up hurting Even and himself and maybe that will be his part in Sana’s story? Maybe Mikael will help her understand the balance she needs to have and the mistakes she could make.
As the theme misunderstood fits to pretty much everyone, this theme seems particularly fitting to not just Sana but also Even. We actually saw how much he was misunderstood back in S3 when he became manic. Its not unrealistic that he was misunderstood back at Bakka when he had an episode and those misunderstandings are coming back to him in this season probably at the same time as Sana is facing her challenges. We feel like the biggest theme here is that Sana continuously feels misunderstood, not just by people who don’t know her, but also by those who are meant to. And maybe the point is that we all want to be understood but how can anyone understand us if we don’t give them the chance and they aren’t willing to? Maybe the answer to find balance between two worlds is if one world can become keen to learn the other, while the other world reaches out and gives them the material to. Even was repeatedly misunderstood last season and possibly also at Bakka because he never gave anyone the chance to know him. To learn, he already had decided that no one could or would. And we think this mirrors exactly what Sana is doing here. We are all upset because the girls continue to say and do things that don’t exactly take her faith in consideration, but not once does Sana correct them. She never encourages them to know her and understand her, she has just assumed that it’s a lost course. So maybe this season will teach her and us that understanding is a two way street, and to find it you have to first let yourself to finally be open to becoming truly understood.
What an episode. There was a lot in it, a lot. Even though
the case was rather simply, it was so full of layers over layers you might call
it puff pastry. And as much as last week’s episode was about Sam and Jack, this
week was all about Dean, from every angle. And as painful as it was to watch
all of Dean’s despair the episode gave us one of the most beautiful, hopeful
endings. Steve Yockey continues to be one of the currently best writers (I’m
still amazed with all the talent to new writers brought to the show). So, let’s
take a closer look.
It was an unusual long teaser this week, but it did the job
right, because even though I knew what was coming (or maybe because of it) I
sat anxious in front of my screen. The actual ghost story was rather simple and
something we saw quite similar back in 1x10. What is interesting about it is
how both the victims and the ghost of the doctor inform Sam and Dean’s story.
We start the story with two boys, thinking of them as a unit, only to learn
later about a third friend, and that the three of them were inseparable. They
split up and in the end two of them died. Parallel to that we start the episode
with two Winchesters and end it with three. The last time the three of them
weren’t on the same page one of them ended up dead.
Dean is mirrored with Shawn. After the traumatic event of
seeing his best friend die Shawn became mute, the same way Dean was mute after
his mother died (and Lucas in 1x03 who was back then a Dean mirror as well).
Shawn tells Dean in the veil that he misses his mom and he wants to go home.
Dean of course longs for a home as well and misses his mother. Dean lost his
mother and Shawn’s mother loses her son – two parents and children separated by
The most interesting parallel though is the fact that Dr.
Meadows tried to cure his patients by performing a lobotomy. He did it to treat
mental illnesses such as depression and anxiety. Not only did it result in the
death of many patients, but it is also the wrong treatment by modern medicine
standard. And even though Sam of course doesn’t try to lobotomize his brother,
his cure/treatment for Dean is wrong as well. This episode is a great example
of how Sam sees/reads his brother, or rather the performance Dean puts on, and
the layer underneath. Sam is aware that Dean is not ok, that the fact that he
no longer believes in anything is a warning sign, and his intentions might be
good (reading reviews for a strip-club, my heart), but the ways he tries to cheer
up are as effective as trying to fix a missing limb with a band aid. He only
sees the tip of the iceberg, but the fact that Dean so casually killed himself
might have given him an idea how bad it really is for Dean.
The Wounded Hunter
Oh Dean. Dean, Dean, Dean. Partly responsible for Sam’s
blindness when it comes to his big brother is of course Dean’s willingness to
participate in the performance. He tells Sam that he will be ok, that he will
get through, with “bullets, bacon, booze” (interestingly no women), and we can’t
blame Sam that he wants to believe that. Especially as Dean actually goes to
the strip-club, though it appears only to get drunk. But we see how deep Dean
is buried in his grief the moment they start to work the case at the abandoned hospital.
He seems almost apathetic when the doctor attacks him, as if he is willing to
risk it (dying). The most heartbreaking moment is though he calm he was when he
talked about killing himself in front of Sam. It is the third time Dean killed
himself in order to get to the veil. In 6x11 he did it because it was the only
way to talk to Death and get Sam’s soul back. In 11x17 we see how messed up he
really is, demonstrating the whole ugly truth about his co-dependent relationship
to Sam. But here? It is just a means to an end, another hunter-tool. Dean is
fully aware of the risk and even then it seems like part of him wants to die. Of
course there is difference between actively wanting to die (because Dean’s goal
is to talk to the ghosts) and choosing death, which he later does in his
conversation with Billie.
We already talked about the absence of deals in this season
(even though Dean asked Chuck for help), which in general is a good thing and
progress. We see this theme continued here, with Dean offering a deal, but he
neither asks for his own life or for Billie to bring back Cas and/or Mary, but
only the ghosts of the victims to be freed (though technically Dean knows that
Billie doesn’t have the power to bring back Cas). On the surface it looks like
an altruistic act, but Billie sees right through Dean’s act.
Billie: […] You have changed, and you tell people it’s not a
big deal. You tell people you’ll work through it, but you know you won’t, you
can’t, and that scares the hell out of you or am I wrong?
Dean: What do you want me to say? It doesn’t matter, I don’t
Billie: Don’t you?
Dean: I couldn’t save Mom. I couldn’t save Cas. I can’t even
save a scared little kid. Sam keeps trying to fix it, but I just keep dragging
him down. So I’m not gonna beg, okay. If it’s my time, it’s my time.
Billie: You really believe that. You wanna die. Dean, every
notebook on this particular shelf tells a version of how you die. You
specifically. Heart attack, burned by a red-haired witch, stabbed by a ghoul in
a graveyard, and on and on. But which one’s right? That depends on you. On the
choices you make.
Dean: Well I guess I made my choice.
This huge pile of angst is so revealing when it comes down
to how Dean’s purpose in life has changed. He defined himself over his job,
both hunting and protecting his brother. But what is the purpose of a hunter if
he no longer can save the people closest to him, the people he loves? If he can’t
even save strangers? If he only seems himself as a burden to his brother, as
someone whose actions no longer have any value?
Both Sam and Dean make a small step in the right direction
in the end, with Sam refusing to let go and forcing Dean to talk, instead of
trying to be nice, and with Dean opening up. Dean who admits that he is not ok,
that even though he has lost people before (John, Bobby), this time it is
different. He needs a win, and it is no coincidence that he echoes Cas’s words
from 12x19 here. Cas’s desperation for a win has led him to make all the wrong
choices (releasing Lucifer, betraying the Winchesters etc) and got him killed
in the end.
The last two or so minutes of the episode were a thing of
beauty. The music choice was great (Steppenwolf’s “It’s never too late”) and
even though we all expected the “Hello Dean” I really liked that they choose
the show the return of Cas without words. Kudos to Jensen and Misha, and John
F. Showalter, for acting and directing the scene the way they did. (And did you
all notice that giant neon cross in the scene? They couldn’t have made it
clearer that Dean has found his faith again.)
Death Becomes Her
Remember all that speculation if Billie is the new Death?
Guess what, you were right guys. Well, somehow. But as much as I am delighted
that Billie is back (as the big boss) I have two questions: Does that mean that
in the time between 10x23 and 12x09 there was no Death? Who was in charge? And
did Billie got herself killed on purpose knowing that she would get a
promotion? (Ok, three questions). Because making deals with the Winchesters is
a fool proof way to get yourself killed. She also says that killing her is what
got Cas killed (in a way), confirming that the cosmic consequences of breaking
the deal were indeed Cas’s death and possibly the opening to the alternative
Speaking of, I wonder why Billie is interested in the
multiple worlds (and if she perhaps has her own agenda regarding Jack). My only
speculation is that opening the rift between the worlds could cause cosmic imbalance.
If people (especially those who are dead in one world and alive in another)
travel through the worlds it will cause chaos. We already saw that with Mary,
who wasn’t supposed to be alive, and the ripple effect her actions caused.
I found it rather amusing that Billie had her table in her
huge office right in front of the “W” section (though I admit I thought the
Winchesters would have a whole shelf for themselves by now). The fact that
multiple notebooks exist with all kind of possible deaths for Dean (and Sam as
well) confirms that the future isn’t set in stone (something Missouri already
told us and is in stark contrast to the idea of Jack seeing the future in
12x19). (Also, a red haired witch? Rowena?)
With her new job Billie sees the bigger picture and knows
now why the old Death has brought back Sam and Dean so many times. She tells
Dean that he and Sam are important, that they got work to do, without telling
them exactly why. Just as Chuck Billie puts a massive amount of responsibility
into the hands of Sam and Dean, something that at least Dean has admitted he
has no interest in. It is possible this is related to Jack, as I can imagine
that he will play a bigger role on a cosmic scale in the future (he could be
the one to bring balance).
Some other things:
- The PB&J. Remember how we all speculated who
would be the one Dean is making it for (Jack or Cas)? And none of us considered
that Dean would make it for himself. Interestingly enough the PB&J is tied
to both Mary and Cas. Mary is the one who used to make sandwiches for Dean; the
PB&J is a childhood memory and comfort food. On the other hand though we
all associate PB&J with Cas since 9x11, and in hindsight we could say the
PB&J foreshadowed Cas’s return. (I’m sure there is crack meta already out
there, explaining how it was the PB&J that brought Cas back and that @elizabethrobertajones has written already 10.000 words
about it <3)
- Jack digging through Sam’s old DVD’s, becoming a
full time nerd. (Please let the two of them make awkward references soon).
- Dean living out his cowboy fantasy with his
boyfriend next week. (It is the cowboy boots that make him sexy)
Continuing the military-themed pinup series for @Zenescope with Navy Skye here, for an upcoming Grimm Fairy Tales variant edition. I think I’m finally dialing in on this new stylistic approach I’ve been trying to get my head around for a while now.
In This Moment: Ritual Track-By-Track Album Review [With Pictures]
“Shame says that because I am flawed, I am unacceptable. Grace says that though I am flawed, I am cherished.” - Abigail Williams: The Crucible, Arthur Miller
All begin to gather around a huge bonfire in the dead of night, decked out to the nines in appropriate attire for the onset of a demonic religious ceremony. Witch drums build to an overpowering bone-chilling crescendo as chants bellow in the background, and you know what is about to take place. Here we have an introductory track which is very stereotypically In This Moment. They firmly believe in taking people on a journey, and it is why they always go to great pains to create a story within the music with each album. This album is no exception as they once again begin the album with a track that crescendos and builds tension and generates excitement for what is to come. The ritual begins here.
The concept of good and evil is explored heavily on this album, and here is where that story begins. The crux of this song is someone exploring the depths of their own psyche, fighting an internal battle with their dark and light sides. And, in a way, this person feels ashamed of being flawed, feeling as if they must be purified in some way to rid themselves of this shame. It asks the all-brooding question, “Am I Lilith or am I Eve?” which, in my opinion, is the heart of the song and is the question that is explored throughout the entire track. Who am I really? Am I the good person that I know myself to be, or am I really as evil as others think I am?
It’s a nice night for a black wedding. A priest and a nun come together in the wee hours of the night to confess their sins to one another. There is indiscretion afoot on both sides of the booth. This song mirrors that of a Catholic confessional, given its back and forth style of vocalizing with the one and only Rob Halford of Judas Priest. This is one of my favorite tracks on the album, simply because of the imagery attached to it. From my perspective, it’s about the whole concept of star-crossed lovers; people who initially could have been good for each other, but ultimately were destined to be ripped apart. With its whimsical piano introduction and poppy chorus, it is destined to be single material at some point. The vocal interstitial at the end of the song of the recited bible verse really fits in well with the theme of the album and helps stitch together the theme with ease.
IN THE AIR TONIGHT
I can feel it coming in the air tonight. The light voices on the wind signal what is about to happen. Here we have a very haunting and melancholic rendition of Phil Collin’s classic song, “In The Air Tonight”, which was inspired by his own wife’s infidelity and discussed events which ultimately lead to their divorce. Their rendition gives it a much more witchy vibe, foreshadowing things which have yet to take place. It injects you with this uneasy feeling that something could happen at any moment, but at the same time knowing that it was meant to happen all along. How do you take a song that’s already perfect and make it even more so? You can’t. You just have to use it to tell your own story, and I truly believe that is what they’ve done with their version.
JOAN OF ARC
The exploration of good vs evil is put center stage in this track from the get-go, with the first line being a line sampled from the 1999 film, The Messenger: The Story Of Joan of Arc. It asks the question, “Who are you to even think you can know the difference between good and evil?” Maria set out to use Joan of Arc as a metaphor for her own crucible, in which she suffers at the hands of the masses for not living up to their expectations. But she has come to terms with who she is and does not find fault in others, instead allowing them to burn her at the stake for their crimes, thus making herself a martyr for her own cause. She’s saying, go ahead and set me on fire if it makes you feel better, but it changes nothing. This one is another one of my favorites.
RIVER OF FIRE
I wanna feel you strike me down with lightning. Here we continue on with the theme explored in Joan of Arc of allowing yourself to be crucified, only here it is done in a way which is much more direct. There is a ritualistic back beat that pounds throughout the entire track, giving you the feeling that you are now in the midst of the ritual you came to experience. This song says, I want you to give me everything you got, all of your hate; pour it down on me like rain from the sky because I want to feel all of it. Let it rain, bring on a hurricane and baptize me in a river of fire because I want to drown in your wrath and fury.
This is the witching hour. Three witches gather around a bubbling cauldron in the middle of a dark wood. This song’s origin no doubt resides in Maria’s trip to Salem, the site of the Salem Witch Trials. It puts this story on display right from the beginning, sampling a sound byte which speaks on that very thing: “Superstition and fear drove them all to accuse their friends and family of consorting with the devil.” This song also explores her own real-life crucible of persecution even further, with her no doubt feeling vilified by those around her for the things she thinks and believes and the way she expresses herself. Even given its dark nature, this is easily one of the poppiest songs on the album in regards to production value. It utilizes a mesmerizing trap beat that casts its own spell on you throughout the entire track. This song is voodoo in the purest sense of the word and is my favorite song on the album.
Crawl into these flames with me. This is one of the most insanely beautiful songs on the entire album and it is one of my top favorites. This song steps away from the good and evil exploration for a quiet moment with your soulmate within the flames of the bonfire. The idea of twin flames is a very esoteric concept. The idea is that people share one-half of each other’s souls. They are pieces of one soul split into two, thus the appropriate lyric, “One flame bursting into two”, which more or less signifies the separation of these two soul halves and these people going their separate ways. The idea is explored in much of the star-crossed fashion of Black Wedding. It has this harpsichord chord progression that pulls you inside the fire’s incandescent glow.
HALF GOD HALF DEVIL
Without the darkness, there’d be no light in me. This song represents the full integration of dark and light. Maria has come to terms with everything that has happened to her, both the good and the bad and embracing all of it. It’s this knowledge of self and experience that frees her from the negative perceptions of those outside her. It also answers the question posed in Oh Lord. Am I good or am I bad? It’s both. And you cannot hope to achieve full enlightenment until you learn to bring both sides together. This is another one of my favorites because this is the moment where I can feel that she is finally comfortable in her own skin and is letting the world know that you cannot have the good without the bad.
NO ME IMPORTA
The simple truth is that I just don’t give a fuck; I don’t care. This is the continuation of that strong self-knowledge. In a way, it feels as though it’s about people who criticize her from the comfort of their keyboards, analyzing her every thought, word and move in an effort to try to “fix” her. It’s about knowing that you’re messed up, about knowing that these flaws are simply just part of who you are and there is no problem at all. There’s an undeniably catchy chord progression in this song that will leave you hooked. There are lots of starts and stops and words that just kind of run into one another. I have to admit I didn’t know what to think of this song at first because I didn’t really understand what was going on lyrically, but now that I know and get what it’s about, I’m happy to say it’s another one of my favorites.
There’s this sick part of me thankful for the hate. This song is the apex of the album’s theme. Part of it is learning how to transmute hatred. When you know who you are and you are grounded in your own self-belief, the words of others begin to lose effect. Where do your roots start and where do your roots end? How well do you know yourself? Do you let the perceptions of others get to you or do you use them to your own benefit? In a way, it represents our connection to ourselves and to source. It says thank you for all of the hate because it has only made me stronger. It shows that without the bad, I would not be who I am today. Because she really does need it to help strengthen her own personal resolve and evolve as a human being.
LAY YOUR GUN DOWN
Won’t you lay your gun down? This song explores the album’s underlying theme one final time, in an attempt to lay her own gun down. In an intimately flawed final moment, Maria acknowledges her own flaws and lays them bare for the world to see. All these twisted little parts of her are what make her who she is. And in coming to terms with this, she reaches her own level of self-actualization. Pull the trigger and fire away because she’s made of scar tissue. Everything that has happened to her has made her indestructible. In This Moment are known for their low-key endings, and this song mirrors that of songs like Out Of Hell from Black Widow and 11:11 from Blood. You can really feel the emotion in the last few seconds of the album and feeling a sense of gratitude for what you have just experienced. The ritual has now come to an end.
A new map is here, and it continues with the “tombs” theme from last week. Perhaps it is the royal tomb of an ancient queen and king, their names lost to the sands of time. Or it could be the final resting place of a reclusive family, the valuables buried with them hidden away in the two secret rooms. Enjoy, and please come back next week for a fresh new hand-drawn map!
Inktober, Day 27 - Angie McGucket and Stan Pines (Mergucket AU)
Continuing the theme of fave OCs I haven’t done - here is @thelastspeecher‘s Angie McGucket, Fidds’ younger sister, who often winds up with Stan in the many, many AUs that Speecher and @agent-jaselin have concocted. Here, they’re from the Mergucket AU, in which the McGuckets are merfolk who draw in Stan and Ford and transform them into merfolk as well. My rendition of Angie owes a lot to Agent Jaselin’s, for sure.
+ Still curious whether we only got Dean’s PoV as a placehold for what both brothers saw (as Dean usually is the PoV character so it wouldn’t surprising if that was the implication) or if it truly was just Dean and if so when or if we’ll get to see what Sam saw.
+ I had wondered what the drunk angel girl had traced on the Impala during first watch already, but hadn’t caught on what she had writter. Yes, I’m probably the only one who hadn’t see it on first watch, so here I go being sloooooow, but yeah, she didn’t trace anything, but left a “mark”:
bitch, which of course serves as a nice stepping stone moment to later revisit.
And of course her entire being there and being an angel, who commonly all hear prayers, but only few act upon had listened to all Dean had verbalized there and of course she perfectly uses that later when she needs to buy herself some time at the police station.
+ Also found this moment…
…rather interesting and telling on rewatch
as this imo does indeed tie Dean in at least a little bit on the myth arc (but maybe I am just reading this into it, because I am desperate for Dean to be treated better by the writers in terms of arc than last season, but anyway…) because what Jack says here is basically Dean’s life in a nutshell after his mother died. A 4 year old child unable to be a child due to the world being a dangerous and scary place.
+ Loved the insertion of the train horn/steam whistle sounds when Jack talks about being himself and not himself at the same time. The train horn sounds have been used heavily throughout the MoC and Amara arc always indicating and alluding to Dean’s identity and agency issues during that arc. So it is fitting for it to pop up here as well where we see Jack struggle with his identity.
+ It is not surprising at all since the whole Jack arc seems to be a complete Amara repeat (growing up fast, etc..) that we’d get this scene…
…with Jack focusing on his hunger. It of course stands in stark contrast to Amara who consumed souls and Jack who fell in love with candy. A direct polar opposite between something “spiritual” and “physical” for lack of a better explanation. On top of that the whole “vending machine”-scene fits right into the whole theme of this recurring visual during Carver era in which vending machines were used as symbols for humanity. See metas here and here on that topic.
If we continue with this theme and the implications, then hunger - sth deeply human and sth explored in great complexity with Dean in particular on multiple occasions over the seasons - and the vending machine does also nicely capture Jack’s in-between-ness as contrary to Castiel for example in S9 he “cheats” his way (unknowingly of course) to get to the food. But the fact he craves food in itself I’d say counts for his human side being the stronger one at the moment.
I am old-fashioned. I like main roleplay themes with headers and topbars and lots of room for links and information on the main. I like themes that have wide entries and are easy to navigate.
Since I’m very traditional, a lot of my choices are older themes which may need tweaking with the new Tumblr coding restraints.
With that in mind, here are my recs:
The other thing you’ll notice about all the themes I choose is that the entry timestamps and tags are really visible. I like information to be displayed clearly and prominently on a page, so accessible entry data is a must for me.
Speaking as someone who looks over a lot of Harry Potter roleplays to keep the Harry Potter Roleplay Directory updated, I like easy access to Plot, Character, Application, and Navigation pages, and I like to know how often the roleplay updates. It makes no sense to me to hide roleplay information behind fad themes or gimmick visuals. People are coming to your main looking for that information. Why make it hard to find? Be as open and clear as possible.
That has always been my perspective on themes, and I think the most successful Harry Potter roleplays work hard to present
information as concisely and beautifully as they can without sacrificing clarity.
Thank you for owling in with your question.
I hope your future Harry Potter roleplay theme is here. I will continue to update this list as I find more themes that could work for a main.
A friend of mine and I are looking to transfer our mains off of Balmung for personal reasons.
My small in the Lavender Beds plot 13 of ward 9 is already spoken for, being given to @keelime-pies in exchange for; @wyvernjack-xiv, the owner of
a small dormant FC house in the Goblet, will work to transfer ownership of it to an RP FC in the near future under his terms. So please keep an eye out on Jack’s blog for details on that transfer of ownership opportunity being announced. The FC is rank 8, has 3 ships, a workshop, and is right by the foot of the waterfall; prime real-estate!
But this means there is a medium on plot 5 in the Lavender Beds of ward 9 that will need an owner, which is my friends house. @thraebhar has entrusted me with finding someone to coordinate selling her property to. It’s right beside a market-board & bell, a pond beside it, a small sitting area nearby, and overlooks the lower half of the Lavender Beds for a very nice view.
We are looking for an RP FC that will be hosting content and/or offering services to the public at large to continue the theme; that our departure means more community content is created here for those staying. The FC that can pull together 5 million Gil and a letter of what you will do with the house sent to my submit box will be considered for this competition in which we will select the winners; we will be checking the FC’s and their members via lodestone to confirm you are the RP FC you say you are, and any other proof that what you say is true.
At this time we do not have a specified end date, but it appears we will likely be transferring sometime this weekend when we have time to get past the queues to login and clear out our homes, so submit your letter, proof you have the Gil (screen caps are perfect), and good luck being selected!
Please note the following:
Since we are transferring, the plot will be released when
we swap servers, so we will coordinate with the winner regarding timing
for the transfer as accommodating as possible for both parties.
To be clear, only the selected FC will pay 5 million Gil to us for the plot, the 5 million is not an entry fee; entry is free.
Keep in mind you will need 16 million Gil to buy the plot once it is released upon our transfer as it will be at full price with no time devaluation being a grade 5 on the 3.3 updated housing prices.