Full Course: Dragon Age: Origins

Okay, before I get heavy into this, let me address the elephant in the room.


How the fuck is Morrigan straight?

No really, how? She’s a swamp witch who dresses like a goth, practices forbidden magic, and constantly makes snarky, emasculating comments. She couldn’t be coded more queer unless you had her express an interest in Sailor Moon. Now I will give Bioware points for giving her a femdom fetish and giving an ending where she fucks your boyfriend to save your life, but come on. You have two bi characters in the cast! Why can’t I have my girl kiss the Satanist goth girl!?

This article took 130 hours of play to prepare for. I am taking this one indulgence.



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The Existential World of Gumball

I am a person with very varied tastes, but there’s always a few elements in any story that can hook me in for a good while. One of those things is existentialism applied to the state of being fictional, and that one thing is what has kept me from casting off Grant Morrison’s declining output for a good while now. I’m not just solely interested in a work that breaks and plays with the forth wall, I’m interested in a work that makes this awareness thematically central. What I mean by this is that I love works that expose and explore the absurdity that is existence, and especially when its done to fictional characters within the context of being fictional. The wealth of stories and ideas that could be explored are limitless, but few can seem to nail it down. Enter Cartoon Network’s The Amazing World of Gumball, both one of the most technically inventive pieces of animation ever put to television, and also one of the best written series they’ve ever had. While the show lacks the emotional complexity of Adventure Time or Steven Universe, it more than makes up for it in how it plays with its medium – and what happens when the character themselves start becoming aware.


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