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hellsvestibule · 1 year

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Seee if nobody else got me I know @zeravmeta got me. Please please pleaseee….I…insane clown p-ussy...

I think in his interactions w Anyone really. he needs to be read as pretentiously playing the “devil you know.” Like, as you mentioned here for Jeanne this takes the form of like, an unhinged desperate man turning to her for forgiveness. But he changes his personality up a bit w everyone he talks to in a way that mirrors their perceived insecurities. All of its genuinely Him because he has a strong personality, but he also has very strong paralels to every character I can think about him having any sustained interaction w. I can’t even really get into all of them cuz I’d be here forever but I’ll rant a bit about some scenes he has w Jeanne, mash, the one valentines scene w Kama, his general shtick w nursery rhyme. And how murder at the kogetsukan is actually imo important to understanding who he is at heart.

The thing is in each case I can think of where he does this, the reality is he’s more similar to the person he’s trying to disturb than the person whose evil behavior he’s imitating. Or is equally similar to both and kind of bridges the theological gap between them a bit maybe. Like, w jeanne, it’s not just that he’s behaving like Gilles, he is also situationally a lot like Jalter, he himself is some weird horny old man’s botched lab experiment out to avenge himself and others like him, but also, his approach to this feels more abstract and inhuman than Jalter , more adjascent to jeanne herself, and I think that’s meaningful bc she sort of theologically distances herself from Jalter but here is a guy who is batshit in both ways. He enacts good will through force of evil deeds which distance him from being able to hold normal relationships, the type of morality I don’t think Jeanne who holds tight to goodness for goodness sake, or even most normal people, can really begin to comprehend, but it’s also, the same way others can’t comprehend her insistence that she’d hold tight to goodness no matter what is done to her. Both are simultaneously, totally reasonable for latching onto the abstract concepts of good and evil within their own perspective. But totally incomprehensible to anyone who isn’t also. like that. Sure Mephy may have the “selfish” Jalter adjacent motives of a victim lashing out to avenge himself in an undignified attempt to gain dignity. But also, like, fatalistic understanding of the will of god as something he serves at his own expense, means he kind of is a saint and martyr in his own weird way. When I say serving the will of god I don’t mean happily so, he even says to guda he wants to help them kill god, bc. Well, he’s the worst Big Daddy upstairs of them all. But he’s still a big daddy who can smite you like an insect, so you have to play by his rules. Mephy wants to make everyone think he’s evil, bc he wants to become a real devil, bc that’s what he thinks he exists to be, what will give him power to avenge himself, and so he’s purposely denigrating himself to an inhuman construct to achieve it, and a portion of the audience apparently buys it, bc just being an arrogant asshole dressed like a creepy clown is enough to rub a lot of people the wrong way. But imo he holds a similar type of arrogance as Jeanne’s in this regard. He’s holding himself to an impossible standard of both good and evil so he kind of had the right to call it out in her even if he’s a hypocrite, which he is in every interaction w everyone. And also, even the parallel to Gilles has multi tiered meaning, since Faust is often portrayed as a child abuser, and so is mephisto in the Goethe play, and he sort of ends said play lamenting his obsession w innocence and purity and inability to ever possess it being his downfall... and like, our Mephy, i would guess, despite the conflicting framing of him, probably doesn’t want to become that, but might sort of think this is his natural disposition or fate, simply bc the things he’s implied about Faust or at least how he perceives him. So only Jeanne can save him from becoming and committing evil like that right? But like. No. She can’t. Bc he’s not her devil. And she shouldn’t even really be held responsible for Gilles, or any other unhinged guy needing her forgiveness. Mephy is pointing out how many people approach her w this whim that she can make them fucking normal if she just hits them hard in the head w a brick. This is normal to her but it’s pitiful it’s normal and she accepts it as such, which he probably wants her to admit, bc his repeated theme across these interactions is that he just wants people to be happy and reject creeps like him, but tells them in the cruelest way possible. which brings me to. Mash!! Bc it paralels his behavior towards her too.

When he first meets Mash in garden of order, he says a bunch of things that are brought back as specific notes of contention within her dynamic w Beryl during the lostbelts (and also Pepe and Kadoc to some degree) He says he’s like her big brother in an attempt to get her guard down, which Fujimaru chips in instead of letting it fly as ironic or cruel like yeah yeah, you’re like her big brother, encouraging him in a positive way bc Fujimaru believes in everyone’s capacity to be equals, flying in the face of mephistos assumptions Fujimaru only likes mash bc her lack of agency and rebelliousness, so they would consequently hate him for being. Not a nice sweet submissive person. This is true of Mash in this point of the story, she has little agency in the earlier chapters, and if you understand his character you understand he actually relates to this and is genuinely horrified on her behalf, but is phrasing it more like it’s in a pitiful inconvenience than w the kindness it actually needs to be said, the same thing kadoc did which is why I point out it’s not just beryl even if it’s mostly beryl.

Bc he also says he watched his roommate repeatedly sever the arms of his family members every night, and due to his conditioning by Faust sacrificing humans (supposedly to aid in his creation) doesn’t know if this is done as an act of abuse or love, specifically adjascent to what beryl does to her and what she asks after. At this point in the story you haven’t met Beryl, but Mash still clearly dislikes this, she becomes visibly uncomfortable and for a short bit after that is slightly hesitant towards mephisto, but she also like, gets over it really quickly after she sees him attack his “bad” selves, stepping in to be like, oh, ok, I see you are trying to become a better person despite having been mislead and used as a proxy for other peoples violence. She Gets it. She’s the first to sort of commit to the repeated theme w Mephy, that everyone he attempts to harass is actually hesitantly accepting and compassionate towards him and willing to relate to him, he’s the one who most struggles to accept this possibility of having normal loved ones who care and understand him and not just bc they are naive and mislead by him. Bc if everyone trusts him not due to naïveté but due to recognition of everything he embodies. He loses power as a (theoretical) devil. He is obviously, regardless of his status as a know it all, mostly just a petulant traumatized child, with no real power over anyone. That’s both the sad and hopeful thing. Power is bad for him, it’s the corrupting force which will help him actualize into a real devil. But conversely he’s the easiest villain to defeat and in some ways purposefully so, because deep in his heart he doesn’t actually want to win. He just wants to be innocent, if someone does not give him any power over them by reacting with violence or hate, he utterly flounders. Devils only exist if you will them too, but nobody here wants the devil, they want Mephy to be whoever Mephy actually is, some sort of, weird pathetic clown guy who is sort of sweet and sort of an asshole? and that’s incredibly agonizing to him bc he doesn’t know who the fuck that is without Faust. He has very little personhood outside of Faust and yet constantly boasts his independence and freedom, for understandable reasons.

Preoccupation with avenging lost innocence is a good segueway to the valentines scene with Kama I think. Also note, I use Kama and Sakura sort of interchangeably here but I recognize they still separate characters. To me this scene reads as the character Kama wanting to offer something nice to the character child Sakura. But I sort of mush them together when discussing them.

IMO if you don’t understand these characters backstories still haunt them, this scene might fly totally past the radar as anything important, because Kama is trying to downplay her engagement in any of these scenes, so it’s played for silly and awkward in context. But that’s just any scene Mephy is in, and you have to look past it for what it really is. Kama is pretending to be a child at the park w her dad, sort of, mimicking maybe one of the last happy memories of childhood Sakura has, and Mephy is clearly here to play the villain, he doesn’t even really have to Try to be sakuras devil bc he’s already at glance an amalgamation of the worst traits of all the family members who hurt her but. Also. He’s a stranger,,, or more so, they sort of imply they concocted this scenario ahead of time and are just really bad actors motivated by the same wants, who are using each other as pawns for each others evil ends (showing the hypocrisy central to their approach).

However. Your feelings of dread are kind of mitigated by the obvious fact no one here wants to play out a depraved or traumatic scenario bc it clearly hits them too close to home. I think the implication given by their backstories is they are waiting to see if you are a creepy or innept dad towards child kama, because Mephy as we know from how he talks about Vicky Frank in London, is basically itching to smash literally every shitty dads shitty face in. but of course guda isn’t a shitty dad, so they’re left w nothing but a really awkward setup they’re trying to play off as meaningless that kinda screams like, this isnt meaningless and petty at all actually, both really wish their fucking parental figures had taken them to oniland instead of committing human rights violations. They did not get to have normal childhoods and so they implicitly. want this nice little fantasy to play out for child Sakura. without phrasing it as such bc that kind of open admission of vulnerability is forbidden, so mephisto, as usual, will play the villain to his dying breath, bc he won’t ever directly admit he’s traumatized. Neither will Kama of course, but this is -their- valentines scene, which necessitates them revealing more than he does. It goes to show how hard mephisto will self denigrate until the other party confronts their inner demons, and that’s bc the clown in him that exists to be humiliated and despised, which Kama has to give in to bc a god of love can only go so far in that capacity. So it feels like Kama is both. Irritated by the pretentiousness of this . He ends up being less like shinji or his father or zouken and more like Kariya, and that’s still shitty and traumatizing in its own way. Mephisto prefaces this scene as him being creepy but what he’s really doing is going oh poor baby whatever you’re going through is more important than having my own similar problems be understood. And of all things, that’s what fucks this scene up. She’s trying to brush off why this scenario or any of these scenarios exist bc she’s never dealt w this pain and assumed she could preface all of this w ironic detatchment. But still! Going to a park is something kariya and her mom used to do w her and her sister, showing she might not have actually totally forgotten what this type of thing means and holds sentimental attatchemt to the idea of it (a theme park just ups the ante and the fantasy aspect of it) But also do you really think Kama would admit they want this sort of sentimental thing unironically? So Mephy the clown must prove he is a worse more traumatized asshole than Kama , so she can admit by proxy she just wants to act like a normal innocent kid for a day, she doesn’t have to thank him for this role or even care about him, but she still points out hes not evil, that he does this as a pretentious part of being what he is, and she focuses on the one thing that’s Not familiar. Clown. he’s sticking to the act of a horrible despicable clown, even on Valentine’s Day, bc hes a very pathetic man scared of being loved, and would probably sooner die than admit that. kama does the big person thing, accepts the shallow pretense they brought you here w for the paradoxical depth it has, this is a normal scenario of a little girl at the theme park with her dad, who had a brush in with a creepy clown and just wants to feel protected and loved. Both of them are too detatched to tell Why you any of this was necessary, it’s the context of what they’ve said and done before now you need to read into, It actually makes me really sad to think about.

Also this is why I’m convinced Mephy is concious and self aware in murder at the kogetsukan. Even the naming convention and setup follows everything you see from the established patterns of interactions, the names of the violet family have a lot of biblical conventions which feel too convoluted to ignore the symbolism of. (Also, that dancing with Eve and Lilith is something he and Faust do in the play, and gorgon taking Margaret’s face in the same scene, there’s just a lot of weird little meta bits in here) Mephy’s character is named Cain, which imo gives him an excuse to break the fourth wall 4th wall and literally just be a self possessed actor rather than narratively lacking self awareness. Named after Gods grandson, whom God dismisses because his sacrifice of plant instead of meat is deemed less significant, and so he becomes possessed by the devil and enraged, and imo this is paraleling mephistos preoccupation w his doll body, how it implicitly makes him feel inherently objectified and worthless and inhuman. Like. Valentines day he gives you a pet which will explode and simulate artificial death, and tells you he wants you to see it as a mascot more worthy than fou. Or when you give him chocolate he’s like (clown screech) my heart valve is pumping. Constantly reminding you he isn’t human and feels awful about it. He thinks his own life and death is meaningless because he is artificial which is why he’s a self sacrificing individual. While maybe not concious and self aware. Ignore everything Moriarty says abt the faces not being significant? They are, Lancelot is cast as and is subsequently the perfect father to this stand in for mephisto bc he’s also struggling w these same feelings and told it all to kariya back in fate zero, and he’s worried he’s a bad dad who would objectify or traumatize his kid, something you see Moriarty needle him for in grand carnival albeit played for laughs at the fact that usually Lancelot is the one who ends up objectified, but Moriarty is also someone who needles peoples trauma when trying to help them. But Lancelot’s like, not what people assume him to be, he’s a genuinely loving person, and so is his character by proxy, so the second “Cain” realizes this, he has a massive sentimental breakdown where he says he loves his family and wants to save them, and I think this is important not to distance the characters 100% from the npcs in this moment bc it shows major facets of Mephisto and Lancelot that often get ignored or misunderstood, and lets mephisto actually commit to his genuine issue of just wanting a dad who loves him normally and showcases that Lancelot actually is so good he wouldn’t care if he’s in a family unit wher he’s a cuckold or his kid is a crazy loser like him, the things people sort of assume he’s preoccupied w being like the possession of another man’s wife or having the perfect child, but like, no, he genuinely just wants to love the people he’s with in the moment but is hesitant to attempt it. the event isn’t totally uncorrelated to the faces the npcs have at all. For some people at least (Mephy, Lancelot, Moriarty, and Mordred off the top of my head) all had some deep seated desire or other fulfilled by this scenario . (Sherlock npc dies, mordred npc has a dick) I can’t really rationalize the others but these 4 at least are super obvious, and it’s part of why I want to “blame” mephisto bc I think out of everyone his reasons for wanting this and ability to put it into place as a mythological wish granter who concocts dreams, makes the most sense motive wise, and also, the deadly fever guda falls under as well as the fantasy concocted are both things mephistos poison is capable of in faust. But I might be missing something, it’s possible like the drama Cd or something I don’t remember revealed a culprit behind the “it was all a dream” thing, but I just think it’s notable that for mephisto there is no barrier between dreams and reality.

Also I should probably mention the importance of his dynamic w nursery rhyme mirroring the absense of what he and Kama don’t have? She calls him uncle mephy and is clearly like, trying to talk him out of his nihilistic suicidal outlook of reality. Bc well whatever, they are both helpless broken dolls but also, she has reason to form sentimental attatchment to clowns, they -are- familiar to her, Faust was one of the first plays put on by pantomime, clown theatre, as was the goose that laid the golden egg, a story about sacrificing something loyal to you so you can reap the immediate benefits of its labor. and I think the latter was one of the performances where mother goose went from a folklore figure to having a canon physical appearance (and you can see as of fgo she still does not, she’s still using Alice’s appearance) and there’s even more nameplay going on w the paralels to kariya she’s invoking w the uncle Mephy shtick making them like kariya and Sakura, kariyas name means “wild goose” and being sent on a wild goose chase is a euphemism for becoming lost in pursuit of something you desire. Mephy doesn’t seem to accept anything in reality as anything but nonsense and farce, yet he constantly imbues every attempt at nonsense and trivializing peoples problems w a huge load of painful sincerity. mother goose is, itself, a book of mostly nonsense. But its sentimental purpose as a familiar children’s book and folklore brushes against his, saying “you have a home here” something he’s obviously in severe denial of wanting but also manages to make 90% of his personality. Mephisto at the start of faust is literally just a lost dog looking for a home. @zeravmeta mentioned how little of Mephy is even allowed to be himself, and he exists mostly through others and like, yeah! There’s more paralels than there is Mephy at a certain point. every “joke” scene Mephy is in is actually majorly sad and fucked up the moment you take a minute to dissect it. Bc he’s convinced trauma makes him funny, when it only paradoxically makes him funny by sheer force of how unfunny he is.

#clown clown clown #faust grand order #laust in the faust #a very long post so do not click if you don’t want to read very long analysis of the fucking clown #source: repeated Faust reader and appreciator who actually mostly likes what fgo has done w him #also you are welcome to add or correct any details bc I’m working from memory here I’m prone to getting things wrong when I do that #and ofc zerav you don’t have to read it now or ever but I said I’d post it and tag you if you were ok w that so I will #oh and want to confirm I recognize Kama and Sakura are separate beings but I think you need to address the needs of both correlating there

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riddleredcoats · 1 year

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tell me about celene and mythal. TELL ME ABOUT CELENE AND MYTHAL! TELL ME ABOUT CELENE AND MYTHAL!!! TELL ME ABOUT CELENE AND MYTHAL!!!!!! TELL ME ABOUT CELENE AND MYTHAL!!!!!

tell me about celene and mythal. please.

please.

I- well, I assume this is about that fantastic Morrigan post that @ammoniteflesh did that I butted in with my ceaseless love about Orlais? I can do that. Settle in, it's a long boi.

Spoilers for The Masked Empire, if you haven't read it (and you should) then this probably won't make much sense. And spoilers for pretty much everything else in DA, tbh.

More under the cut.

The Andraste parallels.

Basically, just copy-paste everything that links Mythal and Andraste in this section. This is a great post/example, though I don't think they are the same, rather just the same story repeating. But TLDR: Betrayal, Heartache, Justice, etc etc etc. I think this is a popular theory I am not going to go much deeper into it.

Celene is compared to Andraste multiple times throughout The Masked Empire. In the play (End-ish of Chapter 5), by Briala (early-ish Chapter 5), and the whole Empress of Fire (both song and the Burning of Halamshiral) debacle. Not only that, but Celene has some genuine thoughts, intentions, and actions about reforming Orlais that are close to what Andraste was doing; they are both trying to reform an imperialist power, granted in different ways (of course) but the parallels aren't meant to be exact.

Fun add-on: Hilarious that Celene basically destroys herself/her image by (in the Fandom, at least, while in Universe is intact for the most part) setting a fire. Because being set on fire was what finally elevated Andraste. It’s still a point for the parallel, just a contrasting parallel rather than a direct one.

Fun add-on, #2: Andraste is described as being a redhead, even in DAI by Cass I think, but is depicted as a white blonde (like Celene in The Masked Empire’s cover or Flemythal's white hair) in multiple paintings throughout Dragon Age. I don’t know what this means, but it’s a fun detail, nonetheless.

Justice! (But not really)

Both Celene and Mythal are arbiters of Justice, technically.

Celene as empress doles out justice as she wishes (more or less, see Halamshiral), but more specifically she wants to create a more just society for all Orlesians. Yes, of course, there is still that delightful imperialism there, but it just do be like that sometimes. Mythal is described several times as someone who doles out justice, throughout the games by Codex and Solas. She passes judgement, solves conflicts and was ‘the good one’.

Like the story of Elgar’nan and Falon’Din, where she solved it by each having champions and stopping the start of a devastating war. Sorta like Celene solved the Gaspard/Teagan conflict at the beginning of The Masked Empire (end of Chapter 1).

They can both be fair and reasonable but are also known for taking more harsh paths (i.e.; the slums of Halamshiral and the sinner who took divine form and went to Elgar’nan). They both promised to help the elves, yet they both seem to have ditched that idea; Mythal has done arguably very little for centuries, and Celene, while helping, without Briala is less than radical about it.

The Vengeance thing is here too. Celene is, after all, no saint and actively cannot forgive Gaspard for anything he does. Ever. And is definitely on a ‘war path’ by the end of TME. Mythal, similarly seems to be on a warpath forever for ‘a reckoning that will shake the very heavens’, whatever the hell that means. Also, everything Flemythal says in Origins just screams bitterness and vengeance.

Betrayal

Both of these women have been betrayed by those closest to them.

Celene by her court, her champion (The Masked Empire), her nobles (The Masked Empire and Wicked Eyes and Wicked Hearts), and both of her cousins (Gaspard and Florianne). Also, arguably, Mantillon betrayed her by ‘manipulating’ her into killing her own servants, but that is a whole 'nother bag to untangle. Oh, and Briala of course, by using Celene’s feelings for her and stealing the ruby during a kiss at the end of The Masked Empire.

FleMythal by her daughter (Morrigan), her husband (Elgar’nan, though if you want to include Flemeth’s here it is also applicable, I guess), her sons (if that’s what Dirthamen and Falon’Din really were?), her fellow ‘Gods’. Oh, and Fen’Harel at the end of DAI, too.

Funny is that both Celene and Mythal when it comes to Briala and Solas’ betrayals are fine with it. Celene completely understands Briala by the end of The Masked Empire, as does Mythal at the end of DAI. And they are both betrayed by Solas and Briala in front of Eluvians Which… yeah.

Another parallel; both Briala and Solas say they must do it for ‘The People’, aka, the elves.

The Rebels

Solas and Briala parallel a lot on their own, but their relationships with Mythal and Celene are fascinating too, as is seeing how Solas/Briala view Mythal/Celene.

Obviously, both of these pairs parallel Shartan/Andraste. Actual mention of this is in the play in The Masked Empire for Celene/Briala (Chapter 5 of TME).

Each pair is obviously fond of one another, likely in different ways - but perhaps not.

Interestingly enough if Solas really was in service to Mythal first (like Cole seems to imply in Trespasser) before he rose to ‘Godhood’ then, like Celene/Briala, the relationship likely started privately and then grew into the public like once Briala became Marquise and Solas became Fen’Harel.

If we take what Cole said, ‘He did not want a body. But she asked him to come. He left a scar when he burned her off his face’, as it really being about Solas/Mythal then we have another interesting parallel between Briala/Solas and Celene/Mythal.

Celene, arguably, makes Briala into what she is by sending her away after having her parents killed. Felassan helped and, of course, Briala herself is the way she is because she is herself, but Celene is the catalyst for her more abrupt change. Briala does not get a scar when she separates herself from Celene; at least not a physical one. Mythal makes Solas into what he is by asking him to come to her.

Interestingly, it is a contrasting parallel – because Celene lets Briala go while Mythal beacons Solas into her service. Which is super interesting, but that is more about the relationship between Briala/Celene than anything else.

The way both Solas/Briala describe Mythal/Celene in-game;

Briala, if you ask about Celene during the peace, but before you go to the servants' quarters, says: ‘Celene is the voice of reason in the empire…’

Solas, in that final Trespasser cutscene: ‘She [Mythal] was a voice of reason, the best of them, and in their lust for power they killed her.”

Granted, Solas is fonder while Briala is a bit harsher in her assessment, but Solas did ‘kill’ Mythal, and whatever wounds Mythal may have caused (which we will get there) have long passed while Celene and Briala’s breakup is more recent. This means very little but i suspect that much like Celene, Mythal also betrayed Solas twice. Once in the times of Arlathan - like Celene killing Briala's parents. And another in recent times - with the burning of Halamshiral. We don't know about it yet, but that's my bet.

Morrigan

Both Mythal (or Flemythal) and Celene have a protective relationship with Morrigan.

Celene is more of a patron and offers financial support and protection. And the protection seems to be mutual (or supposed to be, if Morrigan didn’t bail in WEWH, lmao). Mythal/Flemythal is well, her mother, who is supposed to protect her but who is trying to possess her.

Both of these relationships seem to range from a little contentious (Celene/Morrigan, if you believe the rumours of a palace servant) to very contentious (Flemythal/Morrigan).

Celene seems to not be as intense as Mythal. Morrigan speaks well of her, and Celene does not try to control her like Mythal did, Celene even ‘lets’ her go out into the world – something baby!Morrigan wanted – with her blessing and her protection. I legit find the relationship between them interesting, despite the arguments that apparently took place, lmao. (I also sorta lowkey ship it, but that’s another conversation).

To give the benefit of the doubt; we don’t know how much Mythal was ‘in charge’ of Flemeth (or if they can even act separately) so Morrigan’s abuse might not be Mythal’s fault. But there is no denying that she was abused and that whatever aspect of Mythal, The Mother there was, it absolutely did not act in Morrigan’s favour.

But that is yet another that has nothing to do with Celene/Mythal and all to do with Morrigan.

Symbols matter (or not)

Mythal fought with the Evanuris and the Valmonts fought the Drakons. A bit more *tinfoil* and a lot more thin, but if the Dragon is the divine form like we suspect from Codex Entry in the Temple of Mythal, then the Valmonts having gone to war with the Drakon line could be another interesting parallel. After all, the Drakons are represented by dragons. There is also, technically, the 'full' title of the quest where Celene appears in:

The Old Gods will call to you, From their Ancient Prisons they will sing. Dragons with wicked eyes and wicked hearts, On blacken'd wings does deceit take flight, The First of My children, lost to night. - Canticle of Silence 3:6

Finally, and this is really silly and not really a parallel and most likely it’s just a fun coincidence, but the name Celene, which comes from the root word ‘Selene’, means ‘Moon’, which, of course, Mythal is the Goddess of.

Unimportant sidenote: I am pettily annoyed that most characters pronounce it ce-LI-ne when it should be ce-LE-ne. Because Celine is a legit different name and Celine-Celene have different meanings and root words, but okay I’ll allow it because I do like the pronunciation ‘Celine’ better, lmao.

#celene valmont #mythal #flemythal #dragon age ... meta?#the masked empire #dragon age #several other characters here but yeah #solas briala morrigan etc etc etc #I am not entirely sure this makes sense #hopefully it does #this is unedited and mostly made from memory pretty sure i am forgetting some things #as an aside this is one of my favourite aspects of the series the way that cycles keep repeating and you can help break them #i know people don't like putting Celene and Briala back together but it does make me happy to do it #because i am breaking a cycle that has been going on for thousands of years #Mythal/Solas Andraste/Shartan Celene/Briala #should WEWH have been done in a better way? aye #but it isn't the worst option #..... it's the Truce imo if you're curious. I can't believe i am saying this but even Gaspard is fucking better than the truce.

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