#( such a fun character we just could not let them go )

[ljaylmaoo]

(Yes do more 😭)

I love telling fun facts/ little character development stories about myself hehe

Hmmm where to start…..

One of my earliest memories is when I was like 3-4 years old and I decided to make toast while my mom was cooking quesadillas because it was the first thing I learned how to make and I fell off the chair and my arm fell directly into the frying pan and I burned my whole tiny arm really badly (let’s just say it was no longer just chicken in those quesadillas… my older brother still ate them????)

I was born without knuckles except for my pointer fingers (so that makes my pointer fingers the longest instead of the middle ones like everyone else’s lol)

Oh I have a scar/indent on the centre of my forehead from when I was around 5 and I just learned how to ride a bike with training wheels and I hit a big rock and I went flying forward head first into a sharp pointy rock. It was stuck in my head for a few days and this was also a few days before my kindergarten graduation so in those pictures I have a big red cut in all of them 🤷‍♀️ (and I also decided to cut my own bangs the night before so I literally had two fresh new cuts for that grad 🤣) I’m still banned from ever using scissors again.

When I was younger up until I was like 11 I managed to break every limb in my body at least twice (my left foot 3 times, my right foot 2, my left arm 4 and my right arm 6. I wish I was joking.) along with both my knees, collarbone and tailbone. And it all happened in the most stupidest ways possible 💀

My biggest fears are mascots and piñatas

Before my little brother was diagnosed with adhd, he constantly let his impulsive thoughts win and this one time (maybe around like 7-8 years ago) when he, my mom and I were in a car wash he unbuckled himself and jumped up from his car seat and quickly rolled down my window as the pressure washer thingy was going by and basically drowned me. I haven’t been in an automatic car wash since.

Growing up my older cousin and brother would chase me and my other cousins around my grandparents house in the fields with clown masks on and wouldn’t stop no matter how hard we cried and begged them to stop until we had a panic attack. (I vividly remember hiding under one of the vehicles and seeing them both peek under at me at the same time and laugh maniacally.) this game would often go from the afternoon until night time.

When I was like 4 or 5 and my little brother was just starting to crawl I remember seeing him at the edge of the stairs and I watched him slowly fall while keeping direct eye contact with me and he tumbled down a flight of I think 10ish stairs? He landed on his knees and looked up at me and he started crying and my mom thought I pushed him so I got my ass beat for it. I swear bro knew what he was doing. People till this day still don’t believe that I didn’t push him down the stairs. (I swear on my life I didn’t 😭)

I could do a lot more. 💀

it's so weird to me that everyone on this website is a human person outside of their weird internet niche so rb this with a random bit of your lore

[eerna]

Act 3 somehow had the best highs (Ekko, Timebomb, the really cool Jayce and Viktor scenes) and yet the worst lows (Caitvi, underdeveloped characters) I've ever seen Arcane have like what happened to the writing???

LITERALLY I was watching ep 7 and having so much fun, but realistically I knew that it depended on my ability to believe that, had Enforcers caught the kids after raiding the Kiramman workshop, they would let them go and everything would be fine and they would all grow up happy and adjusted and Silco would see the error of his ways and the Undercity would be filled with sunshine. Somehow we forgot that one single death could NOT have done all this, because the reason things are so bad is the SOCIOECONOMIC SYSTEM THAT PILTOVER AND ZAUN ARE ENGAGED IN. And with the episode 9 end, things just go right back to the way they have been before Hexgates, and that's treated as "saving the day". The writers all collectively got amnesia and forgot that the biggest enemy of Arcane was never magic or Noxus, but the oppressive class system creating violence and injustice among the people, which existed well before Hexgates did. It's pathetic.

[hyperions-light]

okay everyone today let’s talk about profound, overwhelming emotion as a theme in Veilguard

Sounds fun right

Gonna do like a sort of deconstructed essay thing (or I WAS, but this is an actual essay. Sigh)

Thesis: DATV is exploring how its characters confront and process emotions and events so overwhelming that they could define the characters entire lives if ignored or pushed aside; the player is encouraged to provide the characters with the appropriate emotional tools to dismantle the seemingly impossible obstacles that stand in their way, in order to complete their character arcs and contribute to the resolution of the central conflict.

WOagh this got way long, like REALLY long, so I am cutting here. I hope you didn't think the Grey Warden essay was verbose, bc this is much longer! You've been warned lol

PART I: ISATUNOLL

I feel like we have to talk about Harding first bc what’s more overwhelming than having the entire history of your race shoved on you at once? (I've decided to relocate to the computer, so you know I'm taking this seriously) So Harding gets magic rock powers, and then you have that sort of lull in her story where she's just trying to feel them out, but you can already see the game setting up the dilemma, because she's constantly checking against Rook to see what they think about it. She doesn't know how to feel-- should she be worried, excited? You can encourage her down different paths, but whatever you choose, you're providing a way for her to conceptualize this thing that (as far as she knows) has never really happened to anyone else.

And then when you go to meet the Oracle, the game introduces the idea of this overwhelming rage, this intense frustration that IS hers, but also isn't. She (probably) doesn't know what happened to the Titans by that point (you can do Regrets of the Dread Wolf pretty early but idk if it's able to be finished at that point?) but I think the stone giant you fight there is her inborn anger resonating with the much larger, dormant anger of the Titans. And you see her deny her own anger and her own feelings generally (the coffee scene with Lucanis, while tonally lighthearted, is intended to set this up). Again, Rook can intervene, and this time you also see your companions providing their own advice (Lucanis and Taash both tell her not to hide her anger/try to make people happy and Davrin repeatedly urges her to stand and face 'whatever it is' directly). So both Rook and their friends are supplying tools to deal with this upcoming confrontation.

So, the culmination of the arc comes in Isana Negat, where Harding faces the physically manifested anger of the Titans in the form of herself. She says it is her anger, and it IS, she is angry and they are angry, together; Isatunoll-- I am, we are. She did not know what to do with it, and that is why it is here; the game is positing that avoiding confrontation and acceptance of one's feelings can lead to harm for oneself AND for others. It IS Harding that is attacking you, because it was her raising the enemies in the cavern. But, at the same time, Harding is here out of a desire to protect others, and she is compassionate to this manifestation; she apologizes for not knowing how to confront it and letting it run wild in this way.

Fortunately, by this point Rook and company have already provided her with the tools to be successful in this encounter. She does not turn away from her anger, she does not attempt to run or dissemble as she might have done before. By the time Rook reaches the platform she has already absorbed the being; she is just having a hard time fully accepting it. Rook and the other companion physically grab hold of her, as Rook directs her down the path of acceptance through compassion, or acceptance through embracing anger. It is important that neither choice offers a denial. Through the strength of the unity of the team, here represented by physical closeness, and because Harding herself has changed as a character, she is able to integrate the Titans' anger and affirm that she and the other dwarves will continue to persist in spite of what was done to them. DAI players may recognize this as a well-placed echo of the conversation thread between Solas and Varric about the man who persisted in spite of losing everything; Varric said then that the fact that the man lived, that he continued, was a triumph in itself. The dwarves triumph as a race here, by not allowing the horrific violation committed against the Titans destroy them, and so does Harding.

The final piece of Harding's journey is her meeting with Stalgard and his sister outside of Isana Negat, in front of the mountain that was/is a Titan. She returns to them the knowledge that was lost for centuries, and the anger that comes with it, but affirms that they cannot return to what was; this brings change, GOOD change, to the dwarven people and will redefine them. By successfully accepting this outsized emotional trauma, Harding has helped her people, and becomes a more effective member of her team. Catharsis, acceptance, and emotional growth make her stronger.

PART II: I AM NOT THIS

When Rook meets Lucanis, he has been kept in a prison for a year, being tortured and violated by the Venatori, who have been attempting to turn him into a demon. It hasn't worked correctly, because Lucanis and Spite have an accord. However, you first see him just kind of running around killing whoever he comes across; Rook provide direction and a specific target, a chance for freedom. It is significant here that the prison is underwater; Lucanis is, metaphorically, drowning. The prison is also referred to as the Ossuary, which is a place you store the bones of the dead; the outside world believed he was dead, and, metaphorically, he did die here. You kill his torturer, but it is not enough; the woman who kidnapped him and the orchestrator of his violation still lives.

Rook returns to Treviso where Lucanis finds out that he has truly lost almost everything. His grandmother, Caterina, appears to be dead, and his city, Treviso, is occupied by the Antaam. The only thing he has left is Illario, and he immediately grabs onto the idea that Zara, who he believes killed Caterina, is going to kill Illario, too. He panics in response, but he is trained as a Crow to shut down his emotion, and practiced at doing so from his year spent constantly disassociating in the Ossuary. He says he needs to work; Illario and Teia protest, but he insists. He is returning to the thing he knows how to do, grabbing for a sense of normalcy when everything else is lost and he believes the little he has left is in danger. He will destroy the threat and this will also conveniently allow him to put off his real emotional trauma from the prior year.

Every cutscene Rook has with Lucanis between his major plot events in this section involves him trying to contain and ignore Spite. He tries to constantly stay awake to ensure that the demon cannot take over, and he tries to befriend and placate his new associates by buying them stuff (a VERY rich person thing to do) and taking care of them. He is trying to convince himself and them that he is NOT dangerous; he is not a demon, not an abomination. But he is not confronting his fear, he is only putting it off; often, in conversation with others he will be flippant about Spite, or he will deflect their concern about it. He chooses his 'bedroom' in part because it can contain Spite, and because it is the farthest possible location from the Eluvian, where Spite keeps trying to go (I just noticed that! Very fun!). In the meantime, he is also ignoring the fact that Illario is being extremely suspicious, because he doesn't want to know that his brother is the one who hurt him. Lucanis is an astute person by nature, and could certainly have observed this, had he not been deliberately trying to obscure it from himself.

Davrin is a huge problem for him because he is the most direct person in Veilguard. He shows up and tells Lucanis that if Spite overtakes him, he will kill him. This touches on Lucanis' fear of his own lack of control and drives too directly at what he wants to ignore. They are immediately at odds, which is made worse by Lucanis' 'failure' at Weisshaupt, which causes him to lash out at Davrin. He believes that the fact that he was unable to kill Ghilan'nain is indicative of him losing his abilities as an assassin, which is one of the only familiar things that he has left. Fortunately, Rook and company are there to reassure him; the situation is helped by the presence of Taash, Emmrich and Neve, who are unafraid of Spite, and whom he can rely on to control the demon if he cannot. However, the problem remains that he refuses to seriously deal with Spite in any way. As the inextricable representation of Lucanis' trauma (it would LITERALLY kill him to remove it), ignoring him means Lucanis is unable come to terms with what has happened.

This comes to a head when Illario kills Zara, and Lucanis is unable to stop Spite from almost murdering his brother with his own body in response. This is the final, most devastating loss of control. He apologizes to Rook for the lapse, and tries to refocus on Illario, who he now has definitive proof betrayed him. He says he is going to take everything away from him, but truly this is just another distraction; revenge is not going to be enough because it will just mean that he has nothing on which to focus his and Spite's combined ire, and then he will still have a demon inside him and no accord. What saves him is Rook, and finding out that Caterina is still alive. This is fantastic news because it means he hasn't lost everything, but it also presents a dilemma; is it more important to attack Illario, to seek revenge, even if it endangers Caterina's life? Does he risk what he values most-- his family-- to pursue his vengeance?

I was going to write an entirely separate post on the mind prison, my favorite part of Lucanis' arc, so I'll (try) to be brief here. The metaphorical Ossuary is a prison of Lucanis' fear; those he is scared he will hurt, or who will see him for what he believes he is: a demon. In order to get him out of it, Rook needs to cooperate with Spite, and confront each fear individually, breaking down their flawed presuppositions about Lucanis which are trapping him there. It is also significant that Lucanis himself is unable to articulate that he is trapped, and is even unable to ask for help; it is Spite who invites Rook in and concretizes Lucanis' emotional state. He can't get out alone. When Rook reaches Lucanis he admits that he has been avoiding his emotions but that, "It's just... so much. I don't know where to begin."

What happened to Lucanis was life-alteringly traumatic. It is unsurprising that he does not have the tools to effectively confront it. However, Rook encourages him here to begin the process by creating an agreement with Spite in the short-term. Process your trauma by breaking it down and taking it one step at a time. After this section in the game, the player can hear Lucanis converse with his friends about trying to work with Spite; about how the spirit is learning to understand the physical world, and they are no longer fighting. Again, we see that ignoring his emotions was hurting both Lucanis himself and other people, and that by moving forward, no matter how slowly, he can regain control of his life and build a new one alongside Spite, accepting the new circumstance.

When he confronts Illario for what he did and, incidentally, control over the Crows, he does not kill him. He never loses control and he and Spite work together to resist the blood magic that Illario attempts to use on them. Working through his problems with the support of his team allows Lucanis to preserve what he values-- his family, the Crows-- instead of pursuing an endless and ultimately pointless crusade of death in an attempt to avoid his problems. He makes the Crows stronger and heals himself through confronting and accepting his emotions.

PART III: I WILL GO AND SEEK ATONEMENT

Hey it's Solas! Remember how this game used to be called Dreadwolf? That was probably because he's the thematic anchor of the narrative. So, here we go. (This section is going to discuss the 'good ending' for Solas, because I don't think the others really feed into this theme much.)

Solas is the instigator of the conflict in Veilguard, and he may be an antagonistic force throughout the story, depending on how Rook chooses to deal with him. This game gives confirmation that Solas is a spirit, and so the generally established rules apply: he acts as you expect him to act, he is what you expect him to be, so the player is likely to have wildly variable experiences with him.

Throughout the game the player can encounter sections which depict his greatest regrets in his life so far; taking physical form, creating the weapon that severed the Titans' dreams, incidentally creating the Blight, accidentally sending Mythal to her death, and accidentally creating the Veil (dang, nothing goes right for this guy lol). This series of decisions led, in Solas' time, to monumental harm for countless people, and it is what has led him to his current course. He cannot stop because he is utterly trapped in his regret; these moments, though degraded, surrounded him within the Lighthouse while he planned for a decade. The Caretaker tells you that his regrets are so vicious that they are the teeth with which Elgar'nan and Ghilan'nain are tearing into the Crossroads. Solas is destroying something beautiful he helped build because he is unable to let go of the past.

Although you, dear reader, may have your own opinion of him, Solas is undeniably compassionate. In DAI, he will give you massive amounts of approval for simply helping out villagers and performing menial tasks that serve no greater purpose than to alleviate suffering. The amount of suffering he (mostly) unintentionally caused could do nothing but horrify and pain him. His regret is oceanic. If you decide to persuade him to your side at the end of the game, one of the reasons he cites for continuing down his destructive path is because it would dishonor those he has wronged if he were to abandon his work. He is sunk cost fallacy-ing himself into mass murder, basically.

Part of the reason that he is doing this is because, like with Lucanis' issues, the emotion, the weight of the repeated failure is almost too big to effectively reckon with. But Rook can help him do it. Throughout the game Solas watches through his avatar in the Lighthouse; he sees Rook build their team, sees them solve the problems of the people around them and find strength in unity, and so when they appear in Minrathous he does actually believe that they can solve the problem that he cannot. He is deceiving Rook when he gives them the dagger, true, but this is his most valuable asset in the fight; if he did not believe in their success, it would be extremely foolish to give it to them and to commit himself to the comparatively lesser evil of Lusacan. So, Rook has effectively proven the Power of Friendship, as it were, through their actions in Veilguard.

To achieve the 'good end' for Solas, you need to have finished Regrets of the Dreadwolf and successfully confronted the fragment of Mythal that lives in the Crossroads. She will be impressed by your work in proportion to the amount of things in the game you've finished, so you must have bonded with your companions and you must have freed the Crossroads from the ravages of Solas' regrets. He helped make the mess, but other people can help him fix it, which is essentially the point that Mythal makes to him at the end; that he's not literally solely responsible for actually every bad thing that's ever happened.

You also have to tell the Inquisitor to attempt to reach him, which will lead to them saying something about forgiving his past actions if he stops trying to destroy the Veil presently (I assume the dialogue is similar in the friendship route; I have a Solas-romancing Inquisitor and that's basically what she said. I felt that part was general enough it probably carried over). All of these people and various pieces of Solas' past and present are here to break down the gigantic wall of regret that's preventing him from doing the right thing in this moment. All of his arguments for why he must keep going are refuted by these people he cared for, and to whom his regrets are attached.

Through Rook's actions they have demonstrated their ability to solve seemingly overwhelming problems. You can help Harding tame the anger of the Titans, you can help Lucanis confront his trauma, and you can help Solas finally see past his regret and be the hero he has always wanted to be. This is obviously not the only route the player can take through the game, but if they do, they help create a narrative that repeatedly deals with deconstructing and resolving overwhelming emotion. (Dear readers, remind me to make a post about Bioware games and participatory storytelling.) The story examines how intense emotion, ignored or denied, hurts oneself and others, and presents several solutions which all begin with asking for help. There is strength in unity, in compassion and togetherness, and if you cannot see the way forward alone, you will find it with other people.

WhEw okay if you actually finished reading that give yourself a high five and take a lollipop from the basket on your way out the door

on any other platform I think I would have hit a word limit of some kind, so thanks tumblr

edits incoming? very tired rn. Think I had some other point to make about Solas that I forgot maybe. I also think I could've added some of the other companions to this (Taash and Bellara were top candidates) but imo these two are the strongest for this particular theme. And it was already so long lol

okay I sleep soon. you can lmk what you think if you want? don't be a dick tho, I hope that goes without saying lmao

[letters-to-rosie]

okay time to collect some thoughts

spoilers for season 2

as soon as they said there were other regions going to be explored, I knew Noxus was going to be the big thing, and that the battle between the cities and the class conflict angles of the story were going to be set aside. if you know me, you know I would hate this, but because I anticipated it, it wasn't too bad. I had already killed the version of the show I wanted in my head and was ready to take things as they came. and it wasn't all bad. Ambessa makes for a great villain, and all the twists and turns with her and Mel were pretty enjoyable

that being said, the second season in general did away with most of the things I liked about the first: subtlety, nuance, environmental storytelling (and all that sweet sweet class conflict)---I mean the cities just faded into the background as we watched everything play out. even a lot of the great character work we got in the first season was just left as it was. most the characters didn't really get to move much from where they were in the first season. even the ones I enjoyed (like Ambessa) were essentially the same as they were before. there were a lot of things that were cool. a lot of things that were interesting. most of them don't work when put together

Jayce? liked him this season, actually. had fun when he was suffering lol and fighting Viktor. Jayce disappearing out of the blue when the basement of the hexgates wasn't set up at all? boooooo

Jinx? gets to realize she isn't just a jinx. gets to help people. is this realized in a satisfying way? nope. we get one scene of people touching her and then Isha dies and she's back where she was at the start of the season, almost. plus her relationship with Sevika just drops off, and I was having fun with that

Cait? love her evil era. I also like that the plot didn't let her entirely off the hook. love less how she engaged in fucking chemical warfare like what even and that was never addressed

Ekko? has my whole heart. did before, but whatever. saved everyone's asses by being the best boy. love how he's motivated by helping the people who need him. love MUCH less that we never get to see him doing that work. like what did he think of Jinx becoming inspiring to people? how would that combine with his experience in the alternate timeline?

I could go on. I might be better prepared to deal with this than some because I didn't think it would be good in the first place lol I had like no hope. it was such a grand show in the first place and they made it so much grander. there's a lot to like, but the first season REALLY carries it. it feels like two separate shows. I don't begrudge anyone really liking the second season, but I will maintain that the fanbase deserved (and still deserves) better

[whinlatter]

sorry if you've discussed this before, but do you think ginny's quidditch talent came out of nowhere? it's a common criticism I see about her but I feel like that kind of overstates how much of a quidditch "star" she was at the beginning, like she was consistently described as good but not great until partway into hbp and I also think it makes sense she'd keep it a secret from her teasing brothers. but maybe they're right and I'm just biased towards defending ginny

thank you for the question, anon!

the short answer is - no, i think it's (just about) plausibly rendered in the books. i think the series gets away with it because:

the story is told from the perspective of a teenage boy aka peak obliviousness in corporeal form, so we see what harry sees (and harry notices big fat nothing)

there is an entirely adequate narrative explanation for ginny's sporting skills that most readers not operating in bad faith* can put together, as you suggest: ginny comes from a sporty family who are all good at quidditch; she is of middling-to-good seeking ability when she first joins the team in ootp; she then has a good few months flying several times a week where she would necessarily grow in confidence and experience, leaving her perfectly able to blossom in hbp in a high school sport where she is competing against other children. fine and dandy in my book.

also quidditch is a broadly dumb and pointless plot so ginny being good at it is just a fun extra that we don't need to deep too much because - let's be real - quidditch is a waste of page space.

*i say this because, most of the time, these takes come from those who don't like hinny as a pairing. which is entirely their right and prerogative! it personally doesn't float my boat to spend my days doing worst faith readings of the text in order to make the case against canon ships i don't like, but as this is a race to the bottom - we are all adults dissecting children's books written by a nasty spiteful woman rotting in her mouldy castle spouting slurs, after all - who am i to judge.

(i also suspect the 'ginny is good at quidditch out of nowhere' takes have enjoyed such a long shelf-life on eg. reddit because the films are still most people's primary reference for HP takes so complaints about them then get cast back on the books - and, in the films, ginny does in fact rock up in film 6 like she's mbappé, if mbappé had the charisma of an extraordinarily soggy bath mat.)

with that said... could it have done with a bit more foreshadowing? yes, probably. people who don't like hinny as a pairing and prefer another are never going to be convinced - that's fine! but here i am, a paid-up hinny supporter, and even i think ginny's character development is sometimes wanting, to a frustrating and problematic extent. good writing (usually) means showing not telling, and it's weird and lazy of jkr to be so slapdash about revealing this and other character details about ginny and other (often female) characters. i think it's particularly striking that jkr underserves characters (again, usually women) who exist to serve the emotional development of characters (usually men), rather than the mystery plot(s) that drive hp as a series. (wanted! tonks' personality! last seen making fake pig noses and being the only auror mad eye moody mentored as his successor, for no plot reason!)

while i'm not a die-hard adherent to the chekhov's gun principle, i think one of the strengths of many novels du jour - especially the nothing really happens postmodern novel that crowds the bookshop shelves these days - is that their conventions allow authors to add colour to characters without each tiny detail being pregnant with meaning and in service of a driving plot that must be marched forward at all times. that can be really nice! as readers, we like to get a sense of characters as well-rounded living breathing people who go for a wee and take the bins out and stick on an album because it slaps every now and then; in these novels, we're also happier with the idea that things can happen to characters beyond the protagonist that don't directly impact the plot or demand the protagonist knows more than their own very limited vantage point. you have more room to play with character as a result.

jkr, ofc, isn't that kind of author. jkr is in fact an author for whom everything about her characters serves the plot. this, after all, is the brain that brought you 'remus lupin' the werewolf, and named the bad-guy-turned-good-guy in a book using a big black dog as a red herring omen of death 'sirius black'. jkr wants her audience to notice clues and remember little details about characters because they might be significant later on. this is entirely her wont and - lupin and sirius aside - she's often very good at it. the hp books are all standalone mysteries, and, when they land, those mysteries slap. ginny being the culprit in CoS is a genuinely satisfying resolution to the whodunit plot: this was reflected in critical reception at the time and was part of the reason why hp was able to be marketed as a children's book adults would also enjoy thereafter. there are also very satisfying foreshadowing and mystery plots that straddle the entire series and that reward the reader with reasonably good pay-off at the series end. (my favourite is the foreshadow within the foreshadow - e.g. regulus black barrelling back from ootp in DH, but then regulus' plot turning out to ultimately exist to foreshadow snape's own double agent status... delicious).

for my part, it's also what i want out of the fiction i read and the stories i try to write. i want everything to mean something. i want the weather, clothing, setting, body language etc to all do heavy lifting. i want character work to do work. it makes it fun for me to write and (i hope) it can it a bit more fun for the reader.

the problem is that while jkr is good setting up some mysteries, she is bad at others, and the romantic plot is one she falls down (a bit) on. she sets herself up for this: she wants to be a plot-centred mystery writer, so she does have an obligation to do better in how she deploys character details. jkr does to try to write the harry/ginny romance like a mystery, with little hints throughout the series up to the reveal of harry's feelings for ginny in HBP. (even ginny's full name is nominative determinism, finally revealed in DH once the reader has been told her place in the plot - ginevra, so guinnevre, the hero's queen). and while i will never not tire of pointing out to all of reddit that harry/ginny didn't come out of nowhere, and there is some satisfying foreshadowing knocking about here and there, i think it's fair to say that the harry/ginny build-up is not as satisfying as it could have been because jkr is basically lazier about the clues that ginny is the character harry will ultimately fall for, while she is much better at dropping clues for the series' central plot. that ginny ends the series with no real resolution of the primary tensions that motivate her other than her love of harry is probably the most acute example of this. but there's lots about her character where jkr phones it in a bit in fleshing her out or taking it to any logical conclusions or interesting plot directions. a smattering of examples:

ginny is the character who spends the entire series demanding to be included and not underestimated ends the series... with no real major role in the battle other than causing harry panic, while all other central characters receive a satisfying narrative arc that speaks to their central motivators across the series as a whole. (for an interesting discussion of what should have happened with ginny and the horcruxes, see here. i didn't even pay @saintsenara to write this!)

there are lots of shades of colour to ginny's character that are introduced pointlessly. i have previously talked about my beef with arnold the pygmy puff. we know ginny is popular but we know nothing of her friends who are all faceless plotless nobodies. we know ginny supports the all-womens quidditch team in a way that implies a nascent feminist politics after a childhood being excluded from playing a sport she loves by her brothers - yet we know nothing of it. we know ginny loves the one wizarding band that seems to exist because she has a poster of them on her wall and it just.... is something we just get told about her. now, all of these suggest ginny is a good time gal and a right laugh at the pub. and that's nice! i too am fun at the pub! but why does it matter? it wouldn't, in another series. but in a series where Everything Matters, it really stands out.

now..... i don't think all of this is an unsolveable problem for those of us writing fanfiction about ginny or harry and ginny as a couple. i don't think this makes ginny an inherently bad character. i hope the amount of life i have wasted thinking about this character is testament to this (...) and i personally find trying to cook up some fleshed-out characterisation and a satisfying arc for ginny, and for female characters more generally, from the crumbs of the original source material to be a very rewarding way to pass the time and a fuck you to a woman who thinks she can gatekeep womanhood while writing some astonishingly antifeminist fiction. i think harry and ginny are a deeply compelling and eminently plausible couple, and i think i return to writing about them as much as i do because i think they have a ton of potential as narrative mirrors and as characters with a rich well of tension but also devotion between them. as i say a lot, i think one of the things the harry/ginny pairing does refreshingly well compared to other romantic lead couples in YA fiction is show a couple that, at heart, genuinely get on very well, have a laugh together and enjoy each other's company in completely mundane lovely day-to-day ways (laundry and taxes u know). i think that's a striking and refreshing dynamic that i like to spend time fleshing out and playing with and writing about. but i can also see that there is an inconsistency in jkr's character work here, particularly her character work writing female characters, of which ginny is among the most acute examples.

[justmaghookit]

I've seen a lot of reviews and even casual saying that dav is "a bad dragon age game but a good action rpg" but i gotta say i...

I don't think it's a good action rpg? I think it's kinda mid?

I'm not gonna go on about the story and characters because you all already know how i feel about that. But the gameplay???

The gameplay doesn't innovate in anyway that hasn't been done before and done better by other games.

As I was playing I often turned to my partner and says "It feels like I'm playing God of War, but less fun." I remarked that Atreus was a far better combat companion than you companions in this game. That a character that was literally a CHILD was capable of taking down enemies on his own where the supposed Heros of the Veilguard cannot.

I felt like I was doing all this combat alone and the only thing my companions where good for was combos and occasional heals. I saw my partner desperately struggling to play as a ranged mage because there really are no dedicated tank options to pull enemy agro and the ones you DO get are inefficient. If you want to feel like a powerful ranged character you literally have to go into the combat settings and turn enemy agro DOWN.

The gameplay is also hurt by trimming the party down to a total of three instead of four.

Maybe I'm just a tactical games pilled bitch but i think to do away with those parts of DA entirely have hurt it. I think letting Rook use the dagger to access all your companions abilities was a mistake.

You SHOULD have to go back and switch your companions out to access hidden areas! And the maps should be flavoured in such a way that the companion who calls them home should be able to flex more when on their home turf!

"ooooh but its tedious" i hear you cry

and i cry back "i don't think you actually enjoy rpg's!!"

Personally I find a game holding my hand and going "its ok sweetie we did away with all those hard gameplay decisions for you" beyond insulting!

the repetitive enemy hordes, the copy and paste mage boss fights, the environmental puzzles that aren't really puzzles because you have the master key in your back pocket! You don't have to think about your party composition because everyone can heal and they're only useful for combos really because their damage output fucking sucks.

Honestly it just adds to the feeling that Rook is shouldering everything on their own, even though the game repeatedly tells you you aren't!! Look at all your friends helping!! Aren't they cool and strong and powerful? Best in their fields!!

And i go "really? i don't see it"

Your gameplay isn't good when every time I'm fighting a new repetitive horde of enemies all I could find myself thinking was

"Damn I should play BG3 again." Or "Man I should play God of War again."

And of course the always in the back of my mind "I wish i was playing Bloodborne"

[murkystarlight]

MCSM BTS AU

Have I ever talked about this here? I have mentioned it on the conffesiton blog- anyways. I saw the Behind The Scenes thing on yt(plus the Netflix version) and thought it would be fun. Random thing I left in my draft(brain) for a year, here we go!

1. Lukas losing his hat so many times that the crew changed his design(yup. Dis the one I talked about on the confession blog)

2. Jesse(let's say fem) in a interview and the reporter asks if she is aware of the ships the fandom talks about

2-1. Jesse responding with "they're really nice and sweet. Some are them just hilarious for.. different reasons. Cause some of them are so right and some of them are so wrong"

3. The 'characters' the 'actors' play will apply to probably the famous and popular ships.

3-1. Some of the 'actors' themselves could be a couple. But those couples are like... the not really popular ships?

4. Reporter asks (almost)everyone "who makes the most bloopers?" And the answer is Jesse.

4-1. "Which one?" And they bring up a chalk board where they're keeping track of each of the Jesse's and how many times they messed up during a scene.

4-2. "Okay.. then other than Jesse. Who messes up the most?" Everyone else thinks and says "Petra" and she comes up on screen in her defense (I think she would mess up her lines a lot for some reason)(also- probably because she appears on screen a lot)

5. Most of the actors are in their twenties or thirties. Rarely has some that are in their four-fifties

5-1. Most of the time uses CG or makeup to make actors look older or younger

6. Six different actors playing six different Jesse's. The other six are there too.

7. I would very much like to make a comic but I got no art skills. Or the skills to write. Guess I gotta work on that-

8. I don't know how much of a sensitive subject this will be. But I would want to make a small episode about Ivor relating to how Paul Reubens has passed. Of course. Respectively. If that is okay

9. This is just a draft. Not making anything serious out of it(i think. I might. I could....) and I am aware that a lot of people have similar things too. But I just wanted to write it out in my own way?? So... yes.

Thank you for reading. Feel free to ask questions

[bawmbo]

hi, thank you. youve opened a can of worms that cannot be closed

killer is such an interesting character to me. i realized that im not actually too sure where to start but ill start with his timeline;

the idea of a character whose home was slowly destroyed for reasons outside of their control and beyond what they couldve ever thought was real is an incredibly interesting concept to me. i also love psychological horror and reality breaking type of things in relation to it.

to be transformed into something outside of the bounds of definition, and live with the consequences of that, of your loss of autonomy is terrifying. to be named under that total loss is horrifying. to know that everybody will only know your name and never what you went through to get there, that no one would even really care. not that you could get yourself to. theres so much potential with the idea of someone who wants to drain your world of everything for entertainment, and they can forcefully recode it, and they do not care about you because you are just a game character to them. and you are the only one aware of this. and when youre taken out of the timeline by a strange man who can also forcefully shift your control of your situation, everyone will only know you as just as bad as him. as a murderer with no reason. and every time you look at this man (nightmare) all you can feel is the same hatred you feel for yourself. you cant help but feel like youre the same. but this isnt about nightmare as much as i really do love him and writing his character (also super passionate about him)

i have a lot of problems in general with his fandom portrayal and the fact that we either see him as portrayed as either incredibly childish, dumb, very sexualized, etc. and its okay to want to write him how you want to write him, have fun, just not our cup of tea

to us, hes incredibly agile, quiet. hes eerie and incredibly smart and much more aware of whats going on than he lets on. he has lost all respect for anyone who claims theyre more powerful than him, and the way he taunts is by bringing them back to his level (or just doing things he knows pisses them off but not enough to get him killed for it. massive staring problem and wont elaborate on it). and while he can be flirty, where i understand the sexualization comes from.

i think i just crave more in depth characterization from him. how terrifying he is during battles, how he knows the knives he fights with better than the air he breathes and the placement of his feet just as much. how he could be using his magic but its difficult to fight him even without it. the absence of what he could be doing and the presence of how difficult what he is doing showing through. his disconnection from the world around him and how hard it is to realize that everything around you is just codes. that everything is malleable in the wrong hands and everyone lives their lives blissfully unaware of how quickly things can change. and how he could be deeply angry by this but never actually feel it well in his chest like he sees with others. he isnt indifferent, and at some point, somewhere he might express that care. but he cant. and this is it. and he doesnt know how to move on from that.

maybe when he gets close to people his relationships end up showing slow signs of trust. when he does trust people is he surprised if they leave? how scared is he to depend on anyone when no one was ever there to? maybe one day he finally learns to sleep with his chest or back exposed and around people. and his version of hanging out is going "hey i know a spot" and its a 50 minute walk through a closed off forest but its beautiful. and youll probably get some diseases, just gotta hope you dont. the next place is probably a feral cat colony hiding in the sewers hes been feeding and slowly gaining the trust of. hes weird.

in general i really do love complex characters and think about them a lot. and i love seeing how complex characters can be written. i love exploring the possibilities with him and i find that when we either write him or collab stories where we write characters interacting with him, we have a lot of fun and end up thinking about him a lot.

my friend @nullandvalid is a big killer enthusiast too and if you send him an ask you could probably get a big rant too. (also @thaltro. both him and null write killer super well imo. been incredibly fun to listen to them talk about how they write him and engage in writing stories with them) thank you for giving me time to yap about it, ill probably be thinking of more in the meantime but this is all i have atm fhahaha

another one for fun, pretty experimental. this one was one of those "draw regardless of whether or not you think it looks good" things. swore to myself the next utmv character i drew and posted was gonna be fell but here we are. gonna try to get used to posting things that i dont consider my best work. hi killer love you dude

[turtleblogatlast]

Small but significant character moments that I actually really adore are from both the times we see the boys as tots. There is a reoccurrence that happens in both of them that I find so incredibly interesting.

For the turtle tot short, Splinter leaves the boys with weapons. In the short, Raph is the one who suggests they do “what Lou Jitsu would do” and Leo is the one who takes point when Splinter comes back to reprimand them. Leo, in taking point, is the one to defend them and get Splinter off their tails.

And then, in the flashback regarding the Kuroi Yōroi helmet, Raph is the one who grabs and throws “Skully” as a way to replace their missing ball which breaks it into pieces, but Leo is the one who speaks for the group and rushes into action to fix the teapot.

I love this for multiple reasons, but the biggest are how it shows that Raph has always been inclined toward the bold and fun and making the plans to include his brothers in what he loves and believes they’d love, whereas Leo has always been inclined to be the “Face” of the group and shoulder the attention even if it’s potentially negative all while coming up with on the spot attempts to fix the situation.

[hulloitsdani]

What do u think Kiran is

How do u think the order sees kiran

*slowly sits up in my chair*

I think Kiran is a very normal person. This is someone you and I have met before. Be that from the other side of grocery store cashier, waiting in the same elevator, or walking by on a crosswalk. Kiran is a civilian from our world trying to roll with the punches of being warped somewhere completely alien. And you can see it in how they conduct themselves.

I always have a lot of fun writing Kiran’s dialogue because their casual modern speech almost feels like a dialect in comparison to the more formal fantasy tone everyone else speaks with. An “ain’t” will never exit Alfonse’s mouth, you know? And there’s a difference in “Do you have gold?” vs “You got gold?” To me, this gives Kiran an air of unfamiliarity to anyone they interact with. Let’s use Grima as an example, because it doesn’t sound like this grammatical change would make much of difference until Kiran has the audacity to hit Grima with a bro mid sentence. But that’s just how they talk. And as sweet and friendly as they are, there’s always moments like that to remind that no one has the cultural context to fully understand Kiran. Except for the audience, who can realize that Kiran let the customer service voice drop to talk to Grima like he’s an actual person.

And that’s just about how they talk! This view is only emphasized by every other thing about them! They’re a lovable goof, which is normal chill person behavior in the audience’s eyes but feels REALLY ODD to the characters of FE’s medieval fantasy war setting. There is this air of unknown about them that the more socially perceptive will pick up on and will try to come to a conclusion about. Example, I imagine Soren would interpret a lot of this as a dangerous and deeply annoying lack of intelligence from someone he has the displeasure of sharing a tactics table with. Or looping back to the Grima example, he would totally think Kiran has greedy ulterior motives behind that pleasant facade. It takes a lot of work for those types to realize that the discrepancy present isn’t really any of those things. But I also wouldn’t be too surprised if Kiran doesn’t try to directly prove any of those assumptions wrong unless they have to.

Why? Well now it’s time for the implications! Oh how we love the implications.

Because the Summoner is a different story. No one has any fucking clue what that is.

I can tell you what Kiran has pieced together so far. Summoning people from across time and space is apparently not easy. It’s not some school of magical study that some mage could pull off with enough time and research. Trust, Eitri tried. It’s a lot of complex moving parts. For example, the contracts. The contracts Kiran automatically binds their summoned to don’t even compare to the ones Veronica used in book 1. They are far more intense and infinitely harder to break. The only way out of them is if Kiran wills it so. Not even death is an option, because Kiran can come in for the revive. If they had to guess, it’s an older, more completed version of the art. Something lost to time. But no matter the case, Kiran has the ability to take full control of whoever they manage to summon. From a lowly farmer to the divine. And their power only grows.

In a similar vein, if there was any character to canonically see the hud, I think it would be Kiran. It’s genuinely part of their power set. I have previously described Kiran as the party mage until Veronica shows up to be the actual mage, but it would be way more accurate to call them a mystic/seer. They see the map, everyone’s stats, and is doing a fast amount of math to give the combat forecast. Then, upon processing all this information their enemies couldn’t dream of having at their disposal, Kiran can telepathically communicate any change in plans to anyone under contract. Kiran is not inherently some great tactician the moment they touch ground in Askr; they simply can do things no one else can. They’re learning the actual tactics part on the fly. This makes them simultaneously the largest ace up the Order’s sleeve and potentially its biggest liability. If they fall, it could cause a whole system cascade. By that same token, some of the biggest threats the Order has faced are the ones who do their research and rightfully target Kiran.

Now. Thinking critically about all that. That’s downright terrifying. A ridiculous amount of power has been dropped callously into Kiran’s lap and they have to work extremely hard to be moral with it. It’s terrifyingly easy not to be. It would actively take less effort to ‘take the reins’ as it were. But in order to be able to sleep at night ever again, they go the extra mile to not invalidate the will of their summoned. To take over like that. To make a colony of worker bees out of people. Because oh dear god they just summoned a child and the fact that they could easily force them to fight and die for them, only to be revived and do it all over again, is HAUNTING. No. No the Order has an in house orphanage now. This kid is getting adopted and cared for god damnit or Kiran might just pop a blood vessel. And sure that child is going to be a child and there will never be a world where they get along with everyone else, but that’s just going to need be a problem they address when they get there and not an excuse to use Hubris; the power set. Now replace the word child with everyone they ever summoned and you have the wider philosophy they apply to the entire Order.

They’re hyper aware of the power imbalance. They hate it with every bone in their body. They work really hard to correct it in whatever way they can.

So Kiran might not jump on the opportunity to correct those who think lesser of them. It’s… oddly comforting to know someone is keeping a critical eye on them. Holding them accountable. Especially since so much of the order just thinks of them as this quirky yet well meaning host. And, really, what can they even do about that? They have gone over the contract with every hero they summon and despite that they still choose to stay. So, what, do they try to inspire more mistrust? The problem with that they would have to actually do acts that intentionally inspire mistrust. And even if that was successful they can’t just waste the extra man power because every other month there’s some new divine asshole who wants them all dead. And if they fail that means they have to start their life from square one and god they can’t do that again so—

Just breathe Kiran.

It’s fine. You’re fine. Just breathe.

You have work to do.

[baalzebufo]

its a doodle but! i wanted to share my more refined older mabel design, since ive settled on some more stuff since my last post of her

ive seen a few people give her overalls and it feels rly fitting. shes got big pockets because she needs to carry a million things with her. like bugs probably

shes probably taking an art course at a local college

[simcardiac-arrested]

no actually I’d like to hear your thoughts on the isat ending

Like i said it felt really tropey and by that i meant that it’s just Everything Good Happens forever and…..that’s it ? like idk we were building up to this huge catharsis sort of thing and then we got to it and it was so sudden and not a good payoff and just kind of nothingburger of an ending . the fact that everyone just forgives siffrin bothers me, or at least the fact that they don’t confront them about the shit they’ve said and done. call me a mental illness villainizer but i think if you’re a fucking asshole and doing the most insensitive things to the people you care about then hey, i think those ppl have a right to fucking tell you off for it. likeeee idk being at your lowest point …… not an excuse …. not feeling it chief ……. like sure the message is to move past your mistakes or whatever but ? that doesn’t mean just getting away with it ??? and i just really don’t understand Why everyone forgives him. honestly at the end of the day the ending is just one problem, the root of which are the characters. everyone feels like trope cardboard cutouts. oh, this is the smart one. this is the smol bean. this is the himbo. and they all care for each other btw. Did u hear that? they all care for each other. we’re not really going to explain to you why these people are so close or what they went through together but just trust me man they’re sooo found famy. like …. okay. i’ve played 30 hours of this game and not once did i buy that any of the characters really cared about each other. like??? why???? You’re telling me everyone super cares about siffrin even though they barely know them?? you’re telling me siffrin cares about everyone sooo much even though he never even bothered to find out their problems before ? Wat ? and this just breaks the ending more because literally whyyy do these people care about him so bad. and then it’s just whyyy does siffrin Have to tell them anything he doesn’t even seem to know them that well. everyone feels like colleagues and Just Friends at best. and so the ending just seems really forced. like it was written by that type of tumblr user who’s always talking about aww why does the found family have to break up after the end of the journey :( which is like fiiiiine. i guess. but u guys know that u have to build up to it right?? you can’t just tell me they’re Family Members(tm) 102829 times and that they super care about each other source: trust. you can’t just do that and then expect me to believe it ….. It feels unearned. the ending feels unearned and i don’ttttt understand what i’m supposed to take away from it . that it’s ok to fuck people up because you’re traumatized and insecure?? that you have to talk about your deepest problems with people you barely know??? i just dont know. Like i said if im being honest the problems with this game’s writing are more than just the ending, it just stands out so much because there’s a lot of build up and then just …… That

[carnivalcarriondiscarded]

Ahhhhh! I'm absolutely invested in your fantasy AU! I love it so much, and I can't wait to see more content of it! (Take your time, of course! Don't rush yourself!) I was wondering (sorry if this has been asked before or if this is a silly question) but would you mind if people drew their OC's in this AU (hope that made sense) and made fanart of the AU? Anyway, have a wonderful Morning, afternoon, evening, and or night! :}

Thank You! i'm actually writing an indulgent tidbit right now! no one is having a good time in it!

you guys can Absolutely fuck around in this fantasy sandbox! i don't mind people having fun with my aus, cause they're here for that reason - for fun! to play with characters like they're dolls! to practice worldbuilding (tho that's just a special treat For Me)! I'm not very serious about aus <3

[ereborne]

What is a Monday? A miserable little pile of obligations.

semester turnover restructure

generate/send out error reporting

figure out how to separate out unique counts

create polite reply to Massive Dick Move email

finish the bad book >:(

bò kho (not an obligation. dinner)

laundry

lizard bath

[arolesbianism]

I wish So Bad that I could confidently recommend lob corp and library of ruina to people because they're both genuinely rly good games and I also need ppl I know to understand the insanity that is project moon but like godddd they are a fucking Investment. Both in time and in brainpower. I generally think ppl exaggerate how hard lob corp is but it's certainly not easy and when it does get hard it gets HARD. Also it literally requires at least one day 1 reset (basically a new game+) to fully beat the game and at this point I've done at least 10. And for lor I'm not nearly as far in and I'm just scratching the surface of the real game but it's a beast of its own. Also 100+ hours and also hard as hell. Like this game does not fuck around with its difficulty spikes it will make you use your brain and it will give you a damn headache in the process. It's also one of my favorite card combat games I've ever played with mechanics that just so beautifully complement each other to create a dynamic and interesting battle system that gives it a completely different vibe and feeling than any other deck builder games I've played to the point where it almost feels wrong to me to categorize them together. But also I am not even slightly joking abt the headache thing every time I play this damn game I close it with a horrible headache and have to take a multi day break. I think everyone should experience this with me <3

[unnonexistence]

messing around with magnet words again