#BOTH can be interesting and have their place in storytelling

[antianakin]

Broke: Only fucked-up relationships are interesting in stories! Healthy couples are BORING!

Woke: CONFLICT is what's interesting in a narrative and often conflict IN A RELATIONSHIP is what can make a story out of that relationship, but this does not have to mean that the relationship itself is unhealthy or "fucked up" as a result. Conflict can come from anywhere, whether it's inside the relationship or something the people involved are facing outside of the relationship that impacts their dynamic. Healthy couples are not inherently boring any more than toxic/fucked-up couples are inherently interesting. The quality of the story and the way the writing weaves the conflict and the relationship together is what creates a compelling narrative. Simplifying it down to "only fucked-up relationships can be compelling in a narrative" is just unhelpful and untrue.

[comicaurora]

So uhh. If you feel like talking about it. As someone who lives in the US, how are you being kind to yourself on this upsetting morning <3

Checked in with my loved ones first and foremost.

It's interesting. The vibe I've been getting from my circle is very different from 2016. Much less… dread and horror at a realignment of the understanding of what can and can't happen here, now, in this place and day and age. More "fuck, guys. again? whatever. enjoy your consequences, maybe you'll manage to learn something this time."

Frustration and anger is not the most positive feeling, or even the most fair one to express, but it is a protective one. It hurts a lot less than most alternatives.

And it's quite a shift. It was earthshattering back then. How could this have been allowed to happen? Why couldn't it be stopped? Why couldn't we stop it? Why couldn't I stop it? Why couldn't everyone see what this meant? Why couldn't I make them understand? Did they really not care? What did that mean about humanity as a whole? Were we so thoughtless? How could anyone be trusted?

It seems… much less earthshattering to see it happen twice. Disappointing, sure. Frustrating. But nowhere near as devastating as the first time I saw it unfold. We already knew it could happen. I've already had time to digest the implications. Now I'm just freshly disappointed.

It also feels less indicative of Crushing Truths Of Reality this time. We've seen shit get bad. We've also seen shit get better from here! We know both outcomes are possible, even inevitable. We know hoping for a better future is always worthwhile. This isn't the apocalypse. It's an unremarkably bad turn of events brought on by unremarkably self-centered well-documented human impulses. It's utterly mundane in its unpleasantness. It doesn't need to be dignified with despair.

A democratic election, no matter the outcome or the side we're on, makes us all acutely aware of how outnumbered we are by people whose worldviews and priorities are demonstrably incomprehensible to us. And the first time you get outnumbered, it's a shock. Defeat is haunting. It didn't matter how badly you wanted it; by the very function of democracy, you do not have the power to override greater numbers. (insert electoral college caveat here)

The second time through, I find myself focusing on a different facet that has dramatically reduced the amount of spiralling I'm doing. I don't expect this to work for everyone, but for me specifically, it helped to crystallize a few thoughts:

You don't have the power to control anyone else. You don't. You can't share your worldview and your revelations with them. You can't make them think or understand anything. You can lay it all out for them, but you can't make them listen, and you can't make it click. A mentor can't make their student learn a lesson; that's why teaching is so complicated and hard. An active choice must be made by the person to enable themselves to understand, and they must put the pieces together in their own mind before it makes sense to them, and the pieces must have been presented in a way that makes sense to them in the first place. Lead a horse to water, can't make them drink.

These elections highlight a disconnect in what different groups of people care about; and no matter how clearly you explain yourself or how passionately you perform, caring cannot be forced on someone. Understanding and connection cannot be forced. You cannot make anything or anyone matter to someone. They have to choose to see how it matters in order to internalize it. If they choose not to, that is not your failing. You couldn't have made them do it by just Explaining Better. They are not your responsibility. They make their own choices. You can't reach inside their head and connect the dots for them.

I'm a storyteller. I make stories and put them out into the world. I hope people get something good out of them, but I have no control over what that something is. I want people to be thoughtful and kind and compassionate and hopeful and see themselves reflected in stranges, no matter their differences. I can craft stories that I hope encourage this. But that is the extent of my ability and the extent of my responsibility. I control no-one's actions but my own, and so while I am not having the best day, I am at least content that I am doing what I can, and I am not shattering myself against impossibilities trying to control the things I can't.

Sometimes, people make decisions that I think are really bad. I can't make that not happen. All I can do is try to make decisions that will result in things I think are good. Today, that means checking in on people, and not assigning too much dramatic narrative weight to an ultimately mundane set of unremarkable bad decisions outside of my control. We'll take life as it comes and help each other out when and how we can. Everything else is out of our hands.

[needfantasticstories]

“Many places I have been

Many sorrows I have seen

But I don't regret

Nor will I forget

All who took that road with me”

-The Last Goodbye by Billy Boyd

This is an Adjuration by @not-freyja, after 86 chapters, 300k words, and 10 months of joy, laughter, tears, heartbreak and love, has finally reached its end. 

Adjuration is a tragedy that is nothing short of an act of love. That much is clear in the passion and dedication put towards the story, the characters, and the message Freyja is trying to convey. This fic will teach you about love. About death. About the inevitability of existence and why despite knowing it will all come to an end, there is still meaning in trying and hoping and loving each other. In loving yourself. You will laugh, you will cry, you will hope and you will despair as you read this story, but you will not be able to put it down.

It’s hard to say goodbye to something that has been so important to and loved by so many people. So we won’t. Instead, we will say thank you for this incredible journey and the community this fic has built. For the friendships that have been made and the endless inspiration you have given us. Thank you for wanting to tell a story, and for letting us join you around the campfire to listen.

Thank you.

(If you like Linked Universe and haven’t yet read Adjuration, see below for spoiler free reviews of this fic and artist credits.)

This is an Adjuration is the kind of story you fall in love with, the kind of story you think keep thinking about long after you put it down. The kind you keep finding hidden details in after you think you’ve got it figured out. 

The characters are distinct and people with their own voices, motivations, relationships and histories. You’ll have your favourites but love them all. They influence how you’ll see the characters in everything else. 

It’s full of moments where everything clicks and everything before is recontextualised in a way that’s so satisfying and make the whole story very re-readable. A time travel story where all loops are already closed, where you can know but not yet understand what will happen. It’s long, complex, and beautifully, meticulously planned and detailed. It’s clever and considered, funny and heartbreaking. 

A story that whispers ‘it matters’ over and over. It is worth it to love, it is worth it if it doesn’t last forever, it is worth it to give someone a little more time, it is worth it to fight. It’s about loving others and your world and finding grace for yourself. 

It’s loss and tragedy and the cruelness of fate. It is the sacrifice and the breaking. 

Full of heart to both fill yours and break it in the best possible way. 

It’s about love. Always.

By @toyouhellohowareyou

Sometimes, it’s hard to explain to others why art moves us.

I could tell you This is an Adjuration will make you cry, laugh, and sit at the edge of your seat in anticipation. And it’s probably true - I did all of that as I read, often with a coffee in one hand, early in the morning as I got ready for the day. 

But that’s not the reason why I’m writing this.

The real reason is how it followed me during the rest of the day.

You see, at a certain point I realized this isn’t a story about Links going on adventures. Well, it does feature Links, and they do go on adventures, so let’s talk about that for a minute.

The first thing that caught my attention about this book was the characters. Each individual is unique, interesting, and exciting to follow. Not only are the Links individually compelling, but one thing that stands out in Adjuration is how the relationship between each Hero and their own worlds matter, and these connections shift, evolve, break and grow as the plot progresses.

Freyja does an incredible job of bringing together impactful storytelling with humor and heart. This is an Adjuration starts with an interesting premise, and then twists and turns in directions you wouldn’t expect. It’s rich in thought-provoking moments, soft joy and intense action, blended in with carefully crafted time travel and magic.

Adjuration sucked me into the world it builds, combining believable characters with fascinating stories, an unnervingly devious antagonist, plot twists, and lovingly crafted details that slip unnoticed until you’re surrounded on all sides. It made me cheer for characters I feel as if I’ve known intimately for years, made me worry for their safety as I would for that of a loved one, kept me hunting for hints and hidden references, pulling on a thread to try to find the end only for it to twist and loop into itself and show me a completely new side to the story.

Yes, This is an Adjuration is a fanfiction piece that explores the winding river flow of the Legend of Zelda timeline and how the stories of each Hero merge into each other. It also stands out for its heavy emotional content, and it doesn’t shy away from angst and hurt.

But to me, Adjuration is an epic journey that taught me how the choices we make, make us in turn. It’s a tragedy that deals with pain and healing, and it bares naked the non-linear nature of grief. It’s a celebration of the things that make us unique, of our flaws, an essay of the impact of little acts of love. Indeed, it’s a story about love.

I can tell you now, This is an Adjuration moved me. It still does. It has a special way to surface in my mind in unexpected ways at seemingly random times, from something as simple as tossing an apple core, to watching a lightning storm in the distance, or finding a picture of an old friend.

And every time, without fail, it makes me think about love.

By @sunny-porridge

This is an Adjuration is a wonderfully and beautifully crafted story about love, loss, and choice as the various incarnations of Link come together and travel through time. Freyja seamlessly weaves a tapestry of setup and payoff across different timelines and loops, in the best-constructed time travel plot I’ve ever seen on page or screen. Even at its surface, Adjuration is an emotional rollercoaster involving tragedy and the soft moments that make that tragedy worth it. But the deeper you look, the more meaning you can pull from every chapter of this amazing work. This work has made me cry, squeal with delight, and think more deeply about its themes all while having an absolute blast reading it. So in summary: READ IT. READ IT. READ IT NOW. YOU WILL NOT REGRET IT.

By @life-in-winter

While I love that every chapter is emotionally enthralling, with carefully woven, visceral tension you crave in any good story, yet Adjuration is more than that, and you feel it in the careful weave of each character and plot point. Nothing is lost or unanswered. It's the kind of story that, by the end, makes you stop and take a hard look at your own life. Are you appreciating the now? Are you savoring joy? Are you so wrapped up in fear that you can hardly take care of yourself? Do you know who you are?

This story is more like an external experience. It's riding atop a tsunami. How do you handle that ride, Link?

There aren't enough words to describe how amazing this fic is.

@needfantasticstories

Artist credit

Legend: @gia-d

Hyrule: @bittirsweeteer

Time: @toonblade

Sky: @noorahqar

Warriors: @whitewinterstar

Wild: @weavingstarlight

Twilight: @bluury2

Wind: @thewitchdoctor39

Four: @lunaopus

Red: @peepthatbish

Blue: @glowingmin

Green: @winterfen

Vio: @waterfallstream

Shadow: @deleetrix

Wolfie: @linkiscool333

Fierce Deity: @awildsilver

Ravio: @lele5429

Malon: @tooner-tastic

Dink: @passerinesoncaffeine

[ganondoodle]

totk rewrite- botw2 edition

been thinking about the other totk rewrite again (the one only based on botw in which the sonau stay a mystery while being expanded upon)

i talked about it before but heres a lil breakdown (im reusing alot of mechanics from the villain rauru rewrite bc they work too well to be discarded for this one)-

(edit, about five hours later .. its not a little breakdown, its a pretty complete summarized breakdown of the entire new rewrite that i didnt intend to spend the last hours of my sunday on but here we are .. long post, but with pics bc theres lots of concepts im reusing or reviving)

okay START:

zelda and link explore the caverns below hyrule castle bc the shiekah tech has been losing power and their research as to why lead them here

they discover ganondorf and through zeldas curiosity break the, already weak, seal on him (no enigma stone here, the seal was done by an ancient queen of hyrule)- he wakes up attacks them, breaks the mastersword and miasmas/malices links arm off (also idea is that you have to fight him but meant to lose horribly lol) and then have to play an escape sequence (or watch a cutscene of it) in which zelda drags link after herself running from gan

(remember this old first idea drawing i made when i started to think about a rewrite? yeah im reviving that, except theres no totk sonau in this anywhere)

they get out and immediately afterwards a heavy earthquake runs through the land, completely, and actually, changing the map (also using the idea of devastating the regions climates- gerudo desert is flooded, death mountain collapsed inwards, the zoras realm is dried up, rito village has completely frozen over - ACTUALLY frozen over, everything encased in thick ice, the temperature has a special new low point, the winds too strong to glide anywhere-, mountains and rivers shifted, caves are revealed- oh and most of the main villages have tried to flee somewhere saver so theres no literal 1 to 1 repeat of points of interest from botw; also no uh .. miasmas holes that are literally jsut like drilled out bc what?? i want the access to the underground be few and hidden to make it more special to discover)

links arm gets amputated and replaced with a shiekah tech one (maybe using the botw shiekah stone/slate since they still dont know how to make them and its the best self sufficient piece of tech left that doesnt rely on the breaking fuel structure) (reusing this concept from the villain rauru one, with the difference beign that theres no corruption of link -or maybe it does have an effect to have shiekah tech literally hooked up to yourself *thinking emoji*- the abilities remainign the same)

when link wakes up some time has passed (so its more logical that the other regions have tried to cope with everything happening) you get a tutorial by purah and other shiekah (bc with zelda in charge theres more shiekah doing tech stuff again! cool!) and now have a magic meter (functions like in the previous pic, recharges over time depending on environment! bc i find that idea so cool for interstign puzzles and storytelling- like i said in an older post, a place where lots of people died might be richer in spirit energy recharging your magic faster- others have been hollowed out of luminous stone which slows down the recharge) and you are left to decide where to go

both zelda and you have a shiekah stone/slate replica but its incomplete since as mentioned the knowledge on how to make it is still lost so it only has the basic functions, such as the map, journal, camera and teleport

zelda is your companion from the start, in the years since botw she trained in basic self defense and can use her sealing powers as a shield to protect herself (though reluctantly since she doesnt want to rely on them) so you dont need to babysit her- you can tell her to be aggressive in encounters, supporting you (occasionally shields you or heals you a little?) or stay out of it/only self defend if an enemy targets her (in case you dont want any help) - she also copies your movement in a way, when you glide around she will too etc- in cases where you go very fast to one thing, like the hookshot, she will grab onto you

zelda also acts as your mobile crafting station, to put it bluntly, as she can craft and repair weapons, which is at first limited but can be expanded upon by doing quests (like the options of spear crafting being hugely expanded by a zora quest- fitting their fight style), when she does it you need the material needed for it though it costs no money- theres new little smith shops around the world that can repair and craft as well in which you can spend money instead for material you are lacking (and a little fee for the work you know)

(one of the first rough concepts for a pair of smiths, one is at the shop (green lady, the scars on her arms are her missing fins bc she burned them or lost them in battle), the other walks around it like terry (beedle) does and from whom you can buy already crafted simple things, like arrow types-

oh yeah, arrow types return and get more options bc theres no way in hell id make anyone scroll through that awful menu just to fuse one arrow at a time (the old types return, but theres new ones and all are craftable in bulk, here and old rough sketch)

(also theres no new 'in the same location jsut a few steps to the left' towers that shoot you into the air bc it just destroys the entire world design- even if there is no sonau tech in this one so no gliders- i want the sky to feel as dangerous and mystical as the underground)

the sky has to be reached via the hookshot, its got big islands mostly with old shiekah ruins, including that broken titan prototype i drew before, and the bird mechanic (you can tame birds and register them at a location there, idk if im keeping the idea of a lone shiekah there, but the birds will stay)-which is if you tamed a bird you can call it when gliding to gain a little boost in height, enabling you to reach islands further away (since no building, yeah that mechanic is better used in a game actually built around it, which totk just isnt- do not argue with me about that- to really let it shine instead of just being a tiktok viral funney build simulator that adds nothing meaningful to the game and actively makes it worse due to its implementation just not fitting there) or save you from falling if you barely missed the edge of one - theres few points of teleportation up there so the world map isnt made skippable, theres no shrines there (and in general, there are no shrines, just minidungeons- ACTUAL minidungeons- integrated into the world, like really big caves that are each unique and filled with challenges- and much fewer of them) (the islands being mostly made nigh invisible from the surface bc clouds gather on their underside)

perhaps different glider types?! and you can switch their design via zelda too

the old botw shrines are non fucntional due to loss of power, either overgrown or broken into pieces due to the ground breaking open, some might be infested with malice/miasma and comes alive like a weird mix between guardian and miasma crab (which also goes for guardian wrecks that hadnt been taken apart for research yet), some are fallen into caves that got revealed or got swallowed by the ground with only the tip remaining- the titans (divine beasts) are all repurposed (like in the other rewrite ideas i had)- the rito tried to flee the blizzard using medoh but sicne no one has piloted it and unstable connection to them causes them to crash in the hebra mountains, unable to leave it due to the storm and thus on limited time; vah rudania was perhaps made into a temple, or training ground but fell into the underground when death mountain collapsed (imagine ... malice/miasma infested rudania being an actual boss itself, chasing after you in the underground); vah ruta was absolutely made into a place of worship and after their domain dried out a few remained there praying to it convinced their faith would save them- its not able to move but manages to produce a little water still; vah naboris might have been used as a stronghold/lookout but due to the desert flooding (which is in fact, bad) its one of the 'islands' people now reside in

new weather types, including storm and darkness caused by mushroom spores that are invasife to the surface

theres at least six dungeons, one for each region (but not in the exact place as in botw bc that is literally just plain stupid though i might use the zora sewer/water system idea for an actual dungeon instead of .. a single button- bc how cool would that have been?? no no lets put the fish people in the sky and put a single button in the coolest part of it that only activates a waterfalll .... coming out of a tiny island in the sky- all just by of the visual neatness of swimming up??- anyway) plus a yiga one that is in and below the akalla citadel- also might put hyrule castle into the underground and inaccessible for a good portion of the game- and one in the forest of the krogs that was corrupted (which i thought was the reaso nfor the backpack krogs, but no, they literally have no goal and serve no purpose than to make funney videos with em, and then even the forest is nothing more but a reused lame fight agaisnt phantom gan- im starting to rant, sorry)

the abilties of the champions will be similar but there are changes, as in tulins (who i might just change to teba bc lets be real he was the one you interacted with in botw really..) isnt a gust of wind, since its both contrary to revalis whole deal of how difficult it was for him to create the updraft and then tulin can just do an almost exactly the same thing as like, a 12 year old- also its little usefullness after me adding in the birds for the sky and different glider types- maybe ill make it a strong windcut forward like in the other rewrite, like the yiga officer windattack but on steriods id also consider most of them not having the innate ability for it anyway, except for yuno maybe since he literally inherited daruks shield and as my idea was could make a variation of it adding the roll an fire to it but still having the shield, bc it kinda makes them like a boring copy of the botw champions and also lessens both their impact in a way (perhaps bringing dungeon items back?? idk,so still working on that)

each dungeon has a unique boss, at least on of which being a corrupted friend (PROPERLY DONE not like poor yuno in totk >:I ) bc each being just some monster tm is kinda boring (like twilight princess was so cool for how it mixed its bosses tbh)- also want satori to have a dark (also nice) counterpart that you might have to fight first bc you are trespassing into its domain (an old sketch gonna revisit it at some point)

new armor sets of course, and you still own YOUR house in hateno, zelda either has her own one in the spot where landa (the funky building lad that you bought your house from in botw) had the 'example' houses or yours got an additional building added onto it for zelda (and you can customize like, trees around it and have a lil farm spot too!!) and in your house theres a chest you can store armor sets in so you dont have to sell them to avoid inventory clutter

POUCHES return!! you can find some but most are locked behind quests (since logically people likely would have pouches) making them a really good reward and dont force you to engange with krogs if you are tired of them, it also avoids making you go back to them over and over just to expand inventory (you can choose for which part you want to use the pouch for, weapon or shield slot etc)- krog seeds are now its own currency for a lil shop you unlock in the forest, one of the highest rewards being the eponator zero (the motorcycle from botw)

also BOTTLES return! the main way to store healing, which also has to be consumed in real time (like in skyward sword, select in on a wheel so link takes it in his hands and 'a' to use it) avoiding the pause and spam apples into your mouth problem-

now cooking is NOT removed, it has even better effects than potions BUT it cant be stored and has to be consumed where you cook it (hear me out-); the cookbook in totk i find pretty annoyingly useless so, the cookbook is now a proper book you can fill out and when you want to cook a recipe you select it there and cook it with what you have (it shows if you dont have it all and also if you wanna swap an ingredient that would end with a similar effect) AND since you cant store it, theres special NPCs that reappear throughout hyrule (like a group of chefs that have one in each region at least) that let you just cook whatever you want without it wasting your materials, and if you hit a recipe it unlocks and is saved in your cookbook (you have to have the materials you want to cook with but it wont consume them, so you cant jsut spam it and fill the entire book out in one go- maybe the chef can give you subtle hints with expressions if something might be good or not before you try it out so you dont waste ages just cooking the same shit over and over xD)

(also possible idea for an item or big quest reward, a portable pot you can set up to cook with -with wood and fire- on the go without having to rely on finding them in the wild, and zelda can act as you chef giving you hints ... honestly i love this idea, remember all the cute botw art of them travelling and cooking together?? make that real you idiots!)

to upgrade your health or stamina you have to get spirit orbs still, but this time you get big ones that each can be traded, since thers fewer minidungeons but they are 4 times bigger than shrines they also give you 4 times the reward- but still one where you can choose which one you want bc i find that an important bit of freedom (idea still is that you free trapped souls and they give you the orb as a reward, majority of which are in caves in the underground or in the surface caves) which encourages you to vary your gameplay and not focus just on one area bc you probably want all those things, go for quests for puches and bottles, for minidungeons for health/stamina etc

oh yeah, the underground houses several dungeons, the weird gravity effect is in either the entire underground or in parts of it- it does not span the entirety of the map, isntead its smaller and often enclosed areas that each are more detailed and 'finished', theres different bioms and enemies you dont find anywhere else, and some enemies on the surface (like the miasma hands but like .. less easy and no phantom ganon bc that got boring rly fast) that sport those hands can grab you and drag you underground- which can either mean doom for you or .. discovering a new area down there hmmmm a risk to take isnt it :3 (also wanted there to be a mount there but idk if i will use this old concept of the dongos or if i want it to be a crab like thing bc of the underwater theme i want to go for)

LORE/STORY

so as you explore you may discover caves and areas in the underground containing sonau architecture (the type from botw, not totk) most of which heavily damaged, but theres few that are in 'better' shape bc they have been in selaed off caverns that werent yet discovered-

you find out the sonau, which you only vaguely knew from ruins in the overworld, were in fact real (but no you dont suddendly know they fucked with hylians and even their names of untold thosuands of years ago that you just so happen to have read in a book all of the sudden like it was an always known fact and not at all a myste- .. rant alarm .. ), and given the ruins underground they must have originated from there, but there are no scriptures that survived and all sculptures are in very bad shape, alot of which seems intentionally destroyed- slowly you and zelda piece together through vague clues (VAGUE game VAGUE, let people THINK) that they had knowledge of the past and the nature of the ever repeating return of disaster to hyrule; the biggest reveal beign that they knew the cycle wasnt natural at all and that it keeps being repeated only through the structure of how this land operates, the beliefs of the people that rule it, altered history etc.

the ancient shiekah under the rule of hyrules royalty found out what the sonau had discovered/knew and persecuted them (parelells to what the king would do to them later on, anyone??) since the divinity of the kingdom must be upheld by all means necessary- which is why the sonau had disappeared so entirely, with little of their culture left and none of them, and by doing so the ancient shiekah also discovered the previously lost knowledge of the gerudo king having turned into the biggest threat to the kingdom in the past (which the sonau had kept secret, knowing what consequences it could have if not handled carefully), which starts up a whole other betrayal plot of the kingdom planning to imprison gan before he can become a true threat (im gonna guess the relations between the gerudo and hyrule havent been that great even before since hyrule was still the main empire)

gan finds out before the plan goes through and assasinates the king of hyrule, the ancient queen declares war (yes, the queen for once) and in the end sacrifices herself to seal him away, more for revenge than any prophecy, but it nevertheless leads to the cycle doing its thing yet again

calamity ganon is a product of ganondorf trying to break free of his seal- and perhaps in an attempt to weaken his unbreakable will the shiekah discover they can use his spirit as a powerful source to their newly invented tech- which previously ran with processed luminous stones (yes battery theory will never let me go idc) and essentially use his own power against him by beating the calamity with their tech

(this knowledge is also how you get the yiga to work with you, using your knowledge of the past as leverage and zeldas ability to negotiate - and bc i thinks it would be cool to see her develop that way, and no i dont mean it as they all gonan fix it uwu either, its hard to go into more nuance here, its already way longer than i wanted- and yes this also ties into the koga is one of the ancient monks that made himself basically immortal through malice experiments HC of mine)

he attacks the regions bc they too sided with hyrule, he drags you to the underground bc its where he has spent thousands of years in agony, hes only out for revenge, an understable one and one you can sympathize with, but one you cannot negotiate with, its been too long, too much, no amount of apology could sate the desire for payback (which keeps the whole link and zelda defeat ganon formular alive BUT gives it nuance, right?? more tragic really, i hope that comes across)

he attacks link and zelda, breaks the masterword bc he has seen it all before, the original calamity, through the eyes of malice, he knows what you will do, inevitably so, you too will come for him, again

at the midpoint of the game you will reach hyrule castle (underground? perhaps it depends on how much health you have, getting grabbed and dragged into its depths losing hearts and if you have enough you survive until you are inside the castle and let go, you cant teleport outside - oh and zelda is either absent for the fight bc you got separated or she held onto you and protected herself with her power- honeslty kinda like the seperation idea bc after having her around all the time its gotta be super creepy to be suddendly alone) and will have a fight with him, that you kinda lose but are saved by the rest of the crew that zelda had banded together and brought here after being seperated from you- maybe without koga yet bc he would be locked to late game i think

there will be a quest to reforge the mastersword, which if you havent already gone to the forest will now lead you there (oh also some of the krogs you find outside the forest now will tell you that they had to flee, but maybe warn you not to go there yet if you are still in early game, others might not know bc they left to plant new forests, windwaker style, maybe a quest there too! to give them purpose beyond being your plaything and then just disappearing- ahem .. )

(old concept for the krog forest/dekutree boss)

the dekutree will tell you to restore it it will need the blessings of the three dragons (who might not have appeared yet, or slowly disappeared one by one, they might need to be rescued bc gan probably knows you are gonna try and repair the sword) (oh look more old concepts still relevant!)

in the end it will .. end with you defeating ganon, just like always (unsure of the place where it will will be but OH LOOK old concepts- here it was still with hyrule castle in mind but that might be jsut for the midpoint fight now- maybe id put the end fight on the forgotten plateau, to round it up nicely, ending where botw began ... ;3

i really like this one .. even more than the villain rauru one, though that one is fun bc a twist like that is pretty neat and fighting with ganondorf is also rly cool- but sicne i just dont like the totk sonau and much prefer them remaining mostly a mystery im very fond of this (also .. im so sick of ancient people with high tech bs now..)

the aim with this is to .. make a botw2 that actually feels like a botw 2 (for me), shiekah tech is still there but little functions still, logically bc its main powersource is breaking off of it, the sonau are a mystery and kinda negatively talked about bc the shiekah persecuted them just like they would later be - also explains why there are shiekah things in every sonau building, of course they would overtake their places and try to erase a much as possible of them (the thunder plateau might have been a place of worship to farodra or for research- now look its a puzzle for a shrine to strengthen our hero to defeat the thing we caused :)) ), the sonau are expanded upon WITHOUT destroying their mystery (none of them are shown, there are NO memories in this game, everything happens in real time and what you can learn about the past is mostly vague clues pieced together by nerd zelda!)

it gives more depth to the shiekah as well as add an important ounce of nuance to the yiga and shiekah, to ganondorf as well while adressing and fixing the things that needed work in botw in ways i would find enjoyable (instead of making it WORSE)

i also dont want to go too hard on 'zelda is totally agaisnt the monarchy bc monarchy BAD', its not meant to come across like that, i just wanted to do sth interesting that does question everything and bc i like to think she could be lead to a different way of thinking, especially if so through her own research and discovery of previously buried history, being confronted with her own biased views by her passion for her interests

anyway, if you read through all of this, i probably forgot stuff, buts its very late and i spent alot of time writing this (bc i cant stop once i started i guess) and theres lots of things repeated that i already talked about BUT if yo actually read through it all, i cannot even begon to express just how much that means to me, and id i dare request, do tell if you like it!!! and thank you so much!!! it might not seem like much but this is also very important to me, i still dream of gamedev after all and i see this as a sort of practice, are my mechanics and stuff actually better os does it just seem like it to me etc -

(though keep in mind, this is in part self indulfent bc hey, its not real and is never gonna be so i might just do what i want- and yes i do believe it is doable, even if this all sounds alot, the magic lies in making it less but make that 'less' more dense and detailed, hence the underground being like at least cut in half in size and the building mechanic being removed (to give to a game where its better used than totk) alone should free alot of time and space for the things i described here)

-thanks again for reading, posts like these rarely get much attention so uh ... its pretty much never worth the time i spent typing designing and writing it (even if theres still lots missing here, like the dungeons and details to the champions ..) so every bit of commentary weighs alot more <3

[felassan]

July 15th Game Informer article on BioWare's companion design philosophy in DA:TV - cliff notes:

DA:TV wasn't made with the intention of making a sequel or 'the same again as DA:I'. They wanted to do something different

The companions are key to everything in DA:TV; the special centerpiece, load-bearing pillars. The studio uses the phrase "DA is about characters, not causes"

These are the most fully realized, complex, fleshed out & complicated companions from BioWare yet (and DA's best). They have stories of their own, and roles both in and out of combat. They are authentic and relatable

For the first time in the series, BioWare feels that they have purposefully and intentionally created great companions. In previous entries, they sort of 'stumbled' onto great companions

Rook goes on a journey with the companions, rather than how it felt in previous games where the companions are more like going on an adventure with the PC

The companions have complicated problems. We will explore how they think and feel, and help them through their problems. They participate in the game's dark parts and optimistic parts

Corinne: "They feel like my dear friends, and I absolutely adore them"

Corinne quote: "We've really moved into a place where you can have the highest of highs, and it can be colorful, it can be optimistic, but also, you can have the lowest of lows where it gets gritty, it gets painful, it gets quite dark. But throughout it all, there is a sense of optimism. And it creates this delightful throughline throughout the game." 

When creating DA:TV one of BW's principles was that the world exists even when you/Rook isn't around, with ancient conflicts, grudges and more going on. Rook kind of comes in in the middle of some of these plots

John quote: "For example – the Grey Wardens are an interesting faction but by themselves, they don't tell a story, but there are characters within that faction that do. And the same thing with other characters in the story. They represent these factions, they show the face of the other parts of Thedas and of the storytelling we really want to do, which, again, shows Thedas as this large, diverse living world that has things going on when you're not there. [...] Where can Rook come into [the companions'] stories, and what interesting ways can those stories develop not just based on themselves but also based on Rook's presence within them?"

Companions are the faces of their factions. Some, like Bellara, are the faces for an entire area of the world

BW hopes that the companions' visual design challenges and excites cosplayers. Matt Rhodes: "The previous art director had the mindset we should make things easier for [cosplayers], which I think is a misunderstanding of cosplayers. We've seen the kind of challenges they're willing to take on, and so we've gone for, in some cases, a level of complexity and detail"

Tevinter is an oppressive, totalitarian regime that has slavery. "If you’re not a mage in Tevinter, you are lower than dirt for a lot of people". A damaging regime has taken over Minrathous

The Shadow Dragons are a rebel faction that fight back against this Tevinter mage-ocracy (so does Neve)

Neve believes that good exists in Tevinter. She's there for the common people, and believes in fighting oppression and tyranny. She represents the voice of the streets and the common people. BW "wanted to have a character that showed not just what is Tevinter at the top, but what is the average person who lives in Tevinter"

Detective Neve is also about finding clues and ways through problems that aren't as action-focused as some of the other companions

The writer Wesley of Game Informer thinks that DA:TV is sure to be "multiple dozens of hours long"

In combat, companions have their own autonomy and behaviors. They pick their own targets

As their plots progress, they learn how to use their abilities more competently in battle. "It feels like we're all in it together"

In battle, strategy, progression and a sense of teamwork comes into play as the party's leader, Rook. "It is a game about creating this organic sense of teamwork."

Vulnerabilities can be used synergistically

Bellara can slow time

Harding has devastating attacks with 'knock down' effects

Corinne quote: "Now, there are more explicit synergies as well. We very much have intentional combos where your companions can play off each other, you can queue up abilities between them, and each of those abilities will go off and have their effect. But it results in this massive detonation where you get enhanced effects, debuff the entire battlefield, all because of planning and teamwork. What makes it really cool is you can introduce Rook into that equation as well. One of my favorite things to do is upgrade some of Harding's abilities so she will automatically use some of these abilities that normally I'd have to instruct her to do. And she'll actually set my character up to execute that combo that, again, has that detonation effect." 

Outside combat, companions have their own concerns, fears and distractions

Companions have their own personal spaces. They each have their own room in the Lighthouse. These sanctuaries become reflections of who they are. "The more time you spend with them, as the game develops as you work through their arc, their room and their personalities will evolve and flourish and become more complete as they trust you more and you understand them better."

The companions also develop romantically, sometimes with each other. Corinne: "There are moments in the game where two of our companions fell in love with each other and I had to make some pretty challenging choices as it related to the quest we're on. And it broke my heart, it absolutely did"

Get to know and learn about the companions in the Lighthouse. "It endears them to you in a way that I honestly haven't experienced before."

There are joy-filled moments and heart-breaking moments in the game wrt the companions

[source]

[moviecritc]

easiest conversation ⋆ carlos sainz

pairing: carlos sainz x fem!oc (named Angelique)

tropes: strangers to lovers

summary: carlos and angelique sat next to each other in a tennis match in monaco, leading to an endless conversation.

a/n: english is not my first language, sorry for the mistakes and poor storytelling. maybe a part 2 if you like it?

masterlist

Everybody was focused on Carlos' future in Formula 1, he tried so hard to not be worried about it, but every thing he does, the media somehow made it about his career as a driver. So, at the end, he couldn't do anything except being worried too. Many what ifs were in his mind anytime he thought about it.

The past weekend wete the Masters of Montecarlo, a tennis match, and taking advantage of the fact that he was in the city and most of he's teammates were also watching it, he attended as well.

Carlos didn't have the opportunity to talk to any of them, they were seated in different places in the public. Either way, seeing George, Charles and even Lando with their partners made him feel a little bit more miserable than he already felt. No seat and no girlfriend, that's not a very cool situation to be involved.

And there's even more, he doesn't even know a shit about tennis. He played paddel a few times with Lando, but tennis? He had no idea. So he just sat there, gasping when other people gasp and checking his phone once in a while.

"You seem lost," someone said.

Carlos lifts his head that exact moment, connecting looks with a light brunette that was looking at him above her sunglasses.

"Are you talking to me?" he asked, totally confused. Since when that woman was sitting by his side?.

"Yes. You look bored, maybe you just need someone to explain tennis in a cool way," she smiled. A beautiful smile.

Carlos also smiled a bit, in a weird way. Sometimes he forgots that there's people who can effortlesly talk to strangers in a cool and mysterious way. This woman was one of them.

"Yeah, sure. If you can,"

"If I can?" she seemed dramaticly offended. "You don't think a woman can explain tennis to you, man?"

"Oh, no, no, no. I didn't mean it in that way," he said quickly. "Please, go ahead."

She smiled and started explaining all about tennis in the most interesting and funny way possible.

"How do you know so much about tennis?" he asked.

"Well, I'm a tennis player," she explain. "I thought it was obvious."

Carlos noded a bit, noticing a few mobile phones and cameras pointing at them. He didn't realised it until now, and now he was wondering how many pictures and videos of him and that woman would be around the media.

"Uh, well... I mean, I have no idea about tennis," he said, nervously.

"Yeah, I could tell that," she laughed and she infected Carlos with the laughter. "I'm Angelique, by the way."

"Beautiful name. I'm Carlos," they shaked hands with smiles in their faces. He saw some redness on Angelique face after he complimented her. "So you are a tennis player?"

"Yeah." she simply answered.

"Are you good?" Carlos didn't want the conversation to die.

"I try to be," she said. "I'm fifth in the Women's Tennis Association, I don't know if that's enough for you."

Angelique pursed her lips, making a funny face that made Carlos smiled.

"That sounds really good," he said, truly impressed. They were both athletes, maybe that's why it feels so easy to talk to her.

"What about you?" she asked, raising her eyebrows.

"I'm a race driver,"

Angelique raised even more her eyebrows and wide-opened her eyes "Ok, that is so fucking cool!" she remarked. "Which team do you drive for?"

"Ferrari, but..."

"No way! That's even cooler!" she boasted. "I mean, I have no idea about Formula 1. But Ferrari? That is cool guy material, undoubtedly"

Carlos was too invested in Angelique's voice and eyebrow game that wasn't able to tell her that he isn't staying in Ferrari for too long. But they've just met, and being unemployed isn't something to say to someone right off the bat.

He realised that it was the first conversation in a while that he didn't have to mention anything about his future in Formula 1, another reason of him being this comfortable around Angelique.

"And, how did you became a tennis player?" Carlos asked, leaning a little bit to her.

Now, she was focusing on the ball and the movements of the players.

"My brother used to use me as a ball picker when he played tennis, then he broke his arm and I kept his racket," she explained without divert her eyes from the field.

"He stopped playing tennis after that?"

"Well, yes. When he could come back, he was too old and unexperience to achieve something," she said. "But he wasn't very good anyways."

They both laughed and Angelique take off her sunglasses so she could see Carlos better.

"Have you won something in tennis?" he curiously asked.

"Yeah, of course. Matchs and all those things,"

"Have you beaten Serena Williams?" he wondered, with a smirk.

"Not yet," she admited. "But I've won against people who beat Serena."

She smiled proudly. The match was about to end, and none of them were paying attention to it.

"Okey, that's pretty awesome," he said.

She crossed her legs and accomodated her long brown hair to one side, which left Carlos eyeing her in a romantic way.

"And you? How someone decides that he wants to drive really fast cars?"

"My father has been involved in motorsports for a long time,"

"It's always a family thing, don't you think?" she said. "It is hard to find someone who started in sports by themselves."

"It is!" Carlos agreed with her.

He was going to say something else, but they announce the end of the match, everybody standed up to give an applause. Both of them copied the rest of the people.

"Wait, who won?" Carlos asked, totally confused.

Angelique lean into him, whispering "I've no idea,"

They laughed and kept applausing. That was the end of the match and the end of their conversation. Angelique's agent rapidly came to her to take some pictures with the winner.

"Wait, wait," she insisted to her agent and then walked close to Carlos. "It was lovely talking to you, Carlos,"

"Same, Angelique. You seem an interesting person," he complimented. Carlos was willing to ask her for her number, or something.

"Are you coming to the finals tomorrow?" she asked, praying for a yes.

"I don't think so... I have a race soon in China,"

"Oh," she seemed disappointed. "Well, good luck for your race and..."

"Can I asked you for your number?" he said unexpectedly.

"Yes!" she realised that maybe she was too effusive, so she lower her tone. "I mean, yeah, sure. If you want."

Carlos laughed and Angelique did it too, in a more ashamed way. He gave her his phone so she could write her number.

"There you go," she said and her agent was already near her to leave the match. "Text me!"

Carlos laughed and waved at her, when he looked at his phone, he could do anything but laughed again. Angelique saved her as "That cute girl from the tennis match".

He wondered what was about that girl that made her so unique and easy to talk to her. Carlos didn't think about it very much, instead, he texted her right after she left the field.

[donnapalude]

i find something very interesting in what the show has done with claudia's ambivalent relationship with truthfulness, honesty, narrativisation, and storytelling.

claudia is, by and large, depicted as someone that feels some distaste at the idea of embellishing emotional truths by providing too much context, reasoning, or justifications for them. she is not blind to the existence of these things and in fact she is quite a good judge of character. but i believe she perceives it as a weakness to feel the need to organize them in a self-created narrative in order to give some meaning to life events. it feels deliberate that she enjoyed storytelling when she was younger (see, her semi-mythology about angels and devils) and then stopped after her father made her stare at the boy (who called her an angel!) she loved and killed while he was burning. i think she knows, from then on, that a story has no power and it changes nothing. to keep telling it would feel like intolerable self-deception. she would not disrespect what happened by painting a pretty picture about it and, from that point, she never does again.

this mindset, i believe, is also compounded by growing up around two parents extremely inclined to narrativisation as a method of obfuscation. she is perceptive enough to correctly guess this tendency stems from a fundamental inability to face their respective realities, although in almost opposite ways. lestat seeks to control his internal reality by attempting to warp his external one. which is to say, he lies to others to manage their perception of him because he is unable to deal with feelings of insecurity and rejection. louis seeks to control his external reality by attempting to warp his internal one. which is to say, he lies to himself to manage his own self-perception because it's the only way to survive the awareness of the coercions that society (and his various families) put on him. regardless, i think claudia sees how vacuous their attempts are in avoiding pain to themselves and others and she despises them for it. both for lacking the courage to do away with the attempts and for not being able to make them work (secretly, maybe unconsciously, it would be good to have some faith back).

at the same time, claudia keeps writing multiple diaries, loves theatre and loves acting. the diaries seem to become less cinematic over time and she is aware that when she watches a play or she is on stage there is no truth being tarnished, the story is all that exists. still, her intense search for these alternative forms of narration reads to me as a residual longing for the power of storytelling. it's no coincidence, i think, that in order to kill lestat, who had been initially responsible for destroying that belief and who she feels all-powerful, she needs and dares to tell herself one more story: the one about the vampires in europe that will love her, if she can just get through this. apart from that, i think theatre and her diaries represent the last refuge where she can relive the illusion that telling stories has some meaning and some impact. which makes it particularly cruel that the stage is then used as a place where stories become powerful again and they are deployed to first trap her and then kill her.

given all this. i think it's fair to say that claudia usually strives to be both truthful and honest: even the lies she concedes to telling are usually not flights of fancy but stick close to the truth. and they are borne out of a pragmatic need for self-preservation, not a desire to avoid uncomfortable realisations. she makes, overall, an heroic attempt to bear both her internal and her external reality, without trying (unless it's a matter of survival) to forcibly control them, but just accepting them and doing her best with them. the issue with her reasoning i feel, is that, while narrativisation can be a form of deception, it is also in many ways the only mean of creation of a sense of identity. i guess this point is debatable according to the philosophical tradition one draws from, but i would personally argue there is no ontological stable self that exists outside of our own perception. what exists are our thoughts and actions. and "identity" is the net that ties them together, created by the dialogue between the narrative we weave over them and our own reactions to that narrative. the moment the self begins a self-referential recounting, it is already in the realm of intrepretation. which does not mean truth and honesty don't have a role in this: there is, i believe, honesty in recognizing and accepting our actual thoughts and feelings and actions. but after that, their interpretation is always a truth created.

there are two consequence to this for me. the first, is that it becomes evident at some point that an abandonment of any recounting leaves you bereft of lies but also berefts of truths. claudia has no real tools to make sense of her interiority. in the few brief scenes where she explictly talks about her feelings regarding her traumatic experiences, she is merely able to make a list of facts and stark sensations. her conclusion about the "collision" in her, her sense of brokeness, being "i don't know". her conclusion over the retelling of her assault being simply "it fucked me up". i see in her a deep difficulty in re-elaborating her feelings and connecting them in a unitary vision, which deprives her of the possibility to consolidate an assessment over the impact of events on her identity and build something new on it. the second, is that her diaries by nature cannot escape being a form of narrativision. at least to some extent. even if she tries to describe "reality" as close as possible, the moment she puts pen on paper and decides which stories to tell and how, she is creating her own intrepretation. so yes the diaries are technically a truthful source, but the concept of truthfulness is not so uncomplicated that we can equate it to mean "objectively reliable".

as a final consideration i will say that i find claudia profoundly moving and brave in her decision to never close her eyes before life, and in the end, even before death. and even more so because hers is not a meek, passive stance. surrounded by liars and cowards, she is smart enough to see that truth is a very powerful weapon against people that can't bear it. when these people hurt her, she has no need to warp reality to hurt them back: she just puts them before themselves and lets them macerate in their own reflection. and this commitment to the truth stays with her until her final act and then transcends her in some way: as she fades, for once, it's lestat that cannot close his eyes.

[spicerackofblorbos]

Lost and Found in Another World | Leon Kennedy x VoiceActress!fem!reader

☾ summary ➼ Leon has never had someone he's never met affect him so much as you have. This unknown person with insane talent and the sweetest voice he's ever heard. When he meets you at a con, he is no longer that somewhat self-assured field agent. He's reduced to a starstruck mess.

☾ content/warnings ➼ fluff, canon world (sorta), alcohol mention, fem!Reader, sibling-like relationship with Claire Redfield, set up for a possible second part

☾ a/n ➼ Don't look too hard into the timeline of when and where this takes place. I imagined this was Leon between 21 and 28, considering the aftermath of Infinite Darkness. But you can place him whenever! Don't come at me for canon inconsistencies, I'm here to self-indulge idk.

☾ wc ➼ ~2.3k

Leon Kennedy was never one for anime. To be honest, he was never one for any television shows at all. He was either too tired from work or too distracted inside his mind to even think about sitting down and focusing on something.

The only exception was when Claire would come by his apartment, unannounced, with pizza and her show of the week, usually a show she’s started but she needs someone talk about it with, so she was willing to start it over. That someone was Leon.

This week was a new anime she had heard great things about. It was a short season, so they knocked it out in one sitting – one large pizza and a six pack of beer later. Claire was rattling on and on about the main character and her love interest in the show. They were both transported into another fantasy world, an isekai Claire had called it, and had fallen in love due to their shitty circumstances and their dependency on each other in this new, fucked up world.

Leon didn’t hate it, far from it.

In fact, he quite enjoyed it. From the fantastical monsters to the smooth plotline and storytelling, he was locked on the entire time. But what really enchanted him the most was the voice that belonged to the main character, this bubbly almost borderline naïve elf woman. He had never heard anything like her.

Claire would argue that it’s not her real voice, she’s just a very talented voice actress. Leon didn’t care, it was music to his ears and there were moments where he missed important dialogues and plot points because he was so entranced by that pretty voice.

“A convention? Really.” Leon sighs in exasperation at his red-jacket clad friend who sits across from him at the coffee shop they agreed to meet up at for lunch.

“Yeah! My friend bailed on me and the stupid people don’t refund tickets.” Claire gives a bright smile that reaches into her blue eyes, then slowly her face turns into that one pleading emoji she loved to use on Leon when she needed something. “Please Leon? It’s just a few days.”

“I don’t know, Claire… I just got back from a mission, and I could really use those few days to just sleep.” He rolls his shoulders back as he says that, grunting softly at the warm pain that flares up in his muscles from getting his ass kicked multiple times.

“I’ll pay for your food?”

“I can pay for my own food. “

“You don’t even have to dress up!”

“I wasn’t planning on it.”

Claire pauses, propping her chin up on a palm as she stares hard at him. His blue eyes shift to the side, focusing on the cars slowly driving past the small café as he cards his calloused fingers through his hair. Across the street sits a park, full of kids playing on the playground with their parents chatting on the benches, vigilantly keeping an eye.

“Some of the voice actors for ‘Lost and Found in Another World’ will be there.” Claire murmurs into her coffee cup before taking a sip.

That gets Leon’s attention, his gaze snapping back to Claire’s smug face. He mentally scolds himself at how fast he reacted to that, knowing Claire did that on purpose.

There’s another pause.

“Which ones?” he asks gruffly, leaning back in the chair with his arms crossing his chest.

“Guess you’ll have to come and find out yourself.”

.

Leon had never been to a fan convention before, and he can see why he hadn’t before. It was crowded, loud, and stuffy to the point that he was tempted to pull his shirt off. It wouldn’t be the oddest outfit voice in the convention center, anyway.

It had been a few hours of bobbing through aisles of small businesses selling their wares until Leon had to put a hand on Claire’s shoulder just to ask to stop for a drink. His friend had an armful of trinkets and soft plushies that she was currently trying to organize inside her large bag that she brought while Leon leans against the wall, sipping on a very expensive bottle of water.

“I think I scoured every stall available.” She mutters, huffing in triumph once her items finally fit together without exploding out. “You ready to visit Celebrity Row?” Claire wiggles her eyebrows up at him before taking off in the direction of their destination without waiting for a response.

Leon just grumbles and follows as his eyes roam around the crowded space, unable to keep himself from finding potential exits in case something happens. Old habits die hard.

Celebrity Row was just as packed as the vendor floor. Lines of people bleed into the middle of the walkways, all waiting for their chance to meet their favorite star. Leon won’t lie and say he wasn’t intrigued, after all, there were some big-name celebrities all here to talk about their newest movies as well as the ones they had previously starred in.

None of them held a candle over who Leon was really hoping to meet, though.

You.

You were a hot commodity apparently; so many people were here waiting for you to show up at your booth. Claire says you are well known for many of your roles in anime and videogames, a sought-out voice actress in not only the small screens but also from your many adoring fans. Did you capture them by your sweet and melodic voice as well?

Leon couldn’t help but feel slightly embarrassed as he waited in line, being so new to all of this. Claire was in his ear, prattling about this new show that she wanted to try out next week if he was available, but at that point he had zoned out from the conversation and zoned in on you.

You were sitting behind a white table stacked with things he couldn’t see sitting out in front of you. Your name in big letters hovering above you on a banner with pictures of your various roles surrounding it, as if praising the one who had given them life.

Goddamn, your smile. Those eyes. The way your hair accentuates your beautiful face. He could swear he can hear your voice from all the way over here, though impossible since it’s drowned out by the chaos in the con.

Everything about you was nothing he had expected and everything he had hoped for.

“Leon? Earth to Leon!” Claire’s fingers snap in front of his face.

“Sorry. What’s up?” he looks down at her, quirking an eyebrow.

“I was asking how do I look? I want to make sure she likes my cosplay.” Claire does a small spin, letting Leon look at everything.

She had insisted on putting together a last-minute cosplay for your character in ‘Lost and Found in Another World’, something she had called a closet cosplay. It seemed true to fashion, so he nodded, unsure of what feedback he could give at such late notice and lack of context.

“Looks fine to me. I’m sure she’ll love it.” Leon reassures, crossing his arms over his chest as he turns to face the front of the slow-moving line.

“Great. Also, I was really hoping we could…” Claire continues to ramble, excited for the panels she wanted to visit before the end of the night and the ones she was thinking about attending tomorrow. Leon’s eyes do not leave your face.

With every person that you greet, closing the distance between him and you, he feels his heart rate spiking gradually. Leon is a calm and collected person for the most part, especially when he’s out on the field. He’s built up such a stoic wall, a way to protect himself, to hide away who he was before and during the Raccoon City incident.

But you? Why was he so nervous?

“Leon! Go!” Claire pushes Leon forward, knocking him out of his thoughts. Suddenly, he’s throttled into the white table, barely catching himself from falling on top of it. When he looks up, holding himself up by his arms, he’s met with your slightly startled expression.

“Oh my gosh, are you okay?” you ask, finally hearing that sweet voice of yours in person rattling him more than any bio-weapon could. You’ve stood up abruptly with your hands out, ready to support him if necessary.

“I-…” All he wanted was to apologize, but seeing your eyes up close, his words don’t come out the way he wants. “Falling for you already, huh.” He mutters instead, awkwardly smiling as he straightens up.

There’s a pause where Claire looks at Leon with bemusement, Leon’s face falling in horror at what he just said out loud, and your quivering lips as you try not to laugh out loud.

You fail.

Suddenly you burst into a fit of laughter, your eyes closing as you lean forward trying to catch your breath between laughs. Leon’s face blooms in heat, partly from his embarrassment. The other part from how irresistible your genuine laugh sounds like. With just a few words, he can tell the main character from that anime was close to as true to you. If he could hear that laugh and voice for the rest of his life, he could die happily.

“I-I’m sorry.” Leon says sheepishly, taking a few steps back as he rubs the back of his neck.

“No! Nothing to apologize for, I’m just glad you’re okay. You are okay, right?” you’ve settled back in your chair by now. To right the of you is what Leon assumes is your assistant, waiting impatiently for the next people so they can keep this line going efficiently. You, however, ignore their annoyed, passive-aggressive glances.

You wanted to spend as much time with your fans as possible instead of pushing them through as if they were packages on a conveyor belt. It’s understandable why you need to, but that doesn’t mean you have to like it. Nor do it. So you don’t.

“Fine! Yes, I’m fine. Um.” Leon steps away, letting Claire step in front of him so they can talk.

Your eyes leave his to meet Claire, holding your hands out to greet her. There is some back and forth between them - Claire asking about your favorite aspects of being a voice actress, you asking how her day at the con has been. Claire does a twirl for you, showing off the cosplay she carefully put together in such a short time. Your laugh is infectious just as your smile is genuine.

A few moments later, Claire had asked for a photo with you, to which Leon was handed her phone and instructed where to stand and how to do it – as if he hadn’t taken photos for Claire before. A handful of years worth of friendship will do that. And he had expected it anyway, considering how many times she had said how excited she was to talk to and take a selfie with you.

What he hadn’t expected was for you to hold your hand out to him, offering him a sweet smile like a beckoning call.

“Would you like a photo as well?” you ask, your pretty face lit up like the sun. He’s unsure if that’s your permanent disposition or not, but he likes it. And he can resist it. With a gentle nudge from his friend, he takes a few steps forward.

He's hesitant to touch you because he’d assumed it’s against the arbitrary rules set by whoever created these conventions. But considering who you are as a person (unbeknownst to him), you aren’t, and easily you slip your arm behind him and hold him by the waist as you tuck yourself against his side. There’s a surprised grunt that escapes his lips from not only the unexpected contact but also the way you felt so perfectly next to him. Instinctively, his muscular arm wraps around your shoulder out of ease and comfort of the poses you were in.

The perfumes that emanate from you are intoxicating to him and at this point he even forgets why he was here, why he was being held by you. And he’s looks straight at you too, not at the phone clutched in Claire’s hands that is just ten feet away.

“Okay! 1. 2. 3!” Claire presses the camera button a few times, just in case.

All too soon, the contact ends, and you’re turning towards him with a grateful smile as your arms fall back to your side naturally.

“Thank you so much for meeting me today. And thank you for being a fan, it means so much to me.” You say, waving at them before stepping back behind your table, ready to greet new people. Claire practically drags Leon away, which is hard considering how much muscle mass he has.

“Dude, you are so smitten.” Claire jokes once they’re away from the crowd still surrounding your booth.

“Huh, what?” Leon’s eyes drift from where you sit, now focusing on Claire’s highly amused face.

“You’ve got it bad. Want me to ask for her number while we’re here?” she nudges him in the chest.

“Shut up.” Leon grumbles, rubbing his neck again as his face heats up even more. “Send me those photos though.” His voice comes out softer this time, his blue eyes looking away and focusing on the various cosplayers that pass by.

“Yes, sir!” Claire salutes then starts walking deeper into Celebrity Row to see who else they could meet.

Leon was never one for conventions, but if it meant he got to see you again, he’d commit. And maybe even dress up just to see how you’d react.

i'm so bad about plugging my taglist but if you see this and wanna see what other Leon bullshit I pull out of my brain noodles, go here and fill out my form! your email is never shared with me or anyone else.

Taglist: @lucysarah-c @antagonize-me-motherfucker

[lemotmo]

Can we talk about the interesting irony of his

Buck and Tommy started dating and Eddie and his life immediately blew up to smithereens

Buck and Tommy break up and Eddie and his life are immediately shown to finally be getting back on track better then ever.

It's storytelling 101, isn't it.

Two characters involved in an epic slow burn ship. The moment one is on cloud nine, the other feels miserable and as soon as they manage to crawl out of the hole of despair (with some help from the first person), something happens to make the first person spiral and fall from cloud nine, leaving the other one to help them out.

That's how they draw out the inevitable conclusion of getting these two people together.

Then one day, they're both finally in a good place and realise they could have never reached that place without the other person being there for them.

It's a classic love story. 😋

[apoloadonisandnarcissus]

What was the point of Sauron and Galadriel’s scene in 2x08?

1. Halbrand = Sauron

Sauron wants to prove to Galadriel that he and Halbrand are the same (“I have many names” and "Halbrand is Sauron" have been two themes this season, in both Sauron and Galadriel's character arcs), and the connection they felt before the reveal was true and not a deception on his part; 

“Were are not the same. We never were. It was just another of your illusions.”  “Not all of it.”   And Sauron proceeds to explain what he means by this through illusions:  “Fighting at your side, I felt, if I could just hold onto that feeling.” (Halbrand = "I've felt it, too" = the connection was real)  “They could no longer distinguish me from the evil I was fighting.” (Dark!Galadriel = Sauron sees the darkness in Galadriel)  “Aren’t these the seeds you planted?” (Celebrimbor on Galadriel’s vision, meaning Sauron has some sort of influence over Nenya) 

This explains why Sauron didn’t stay in his Halbrand form, when it was the easiest way to manipulate her. He’s attempting to prove that the connection Galadriel felt was, in fact, with him, Sauron himself.

2. Bind Yourself to Me

“The door is still open”  

Sauron is set on binding himself to Galadriel this time around, and against her will if he has to. She won't reject him again. He wants her to bind herself to him, freely. But she refuses until the end (“the door is shut”), and, so, he forces them to bind together (using Morgoth’s crown). This was his way of saying: “you are mine, now and forever”. 

“I would’ve placed a crown upon your head, I would never have rested until all of Middle-earth had been brought to its knees to worship the light of its Queen.”  

This was Sauron revealing that his proposal to Galadriel back in 1x08 was real, and that he truly meant it.

"I would make you a queen, fair as the sea and the Sun, stronger than the foundations of the earth." "And you, my Kind. The Dark Lord." "No, not dark. Not with you at my side." You bind me to the light, and I bind you to power"

However, that boat has sail (hence the "past tense"). And he, as Morgoth’s official successor ("shadow of Morgoth") and the new Dark Lord has no interest for Galadriel’s light, anymore. He wants to bring her into the darkness with him, now. And if he can’t have Galadriel in the Seen world (reality), he’ll have her on the Unseen world (“shadow realm”), that he now masters.  

What went wrong?  

Many fellow fans have already discussed this (myself included), but this scene was so badly-executed and produced it failed to bring all of these points across to the audience in a clear way. Which is a shame because everything seems to work on paper. 

This scene, truly, is a mess, and all over the place. There’s no way around it. The producers valued spectacle over storytelling and it damaged the scene, by not allowing it time to breathe and make these emotions shine through. Even the actors (Morfydd and Charlie) had to be more preoccupied with the fighting choreography than in delivering emotional weight, because there’s so much they can do when they are moving around like maniacs.  

I think the “Marvelization” effect is to blame here: the extensive and unnecessary fighting and the cringeworthy dialogue (action hero “one-liners”). Galadriel in love with Halbrand, refusing to accept he and Sauron are the same being; Sauron obsessing over her and wanting her at his side, at any cost. The weight of them being doomship. This scene should be overflowing with emotions, drama and tragedy, and yet, all of that was sterilized to prioritize the fighting sequence no one asked for.

Sauron and Galadriel could have fought for a while, but there was no need to drag it on and on until the end, because that was not the point of the scene, and by doing this, the show confused its audience. “Wait, Sauron killed Galadriel?” Because, come on, that’s what all of us thought when we first saw this scene. We are analyzing it now and finding the true meaning behind it, but no one would have guessed Sauron’s true intention on their first watch. 

Another problem is the failure of “show, not tell”. I don’t know if this scene was the show writers’ original plan or if they changed it later (multiple endings, reshoots, etc.). We are told that Sauron and Galadriel know each others’ minds, but the show doesn’t actually reveal any of it to us. Everything is so subtle and ambiguous, folks get confused.  

We are now told by Director and executive producer Charlotte Brändström, that Galadriel really loved Halbrand, and that Sauron changes into Halbrand because he fell and doesn’t want to look powerless in front of Galadriel. But he knows Galadriel’s mind and can see her love for him in that moment, and that's the reason for his “puppy eyes”. But in that sequence, nothing of this comes through, and it looks like Sauron is just manipulating her to stop the fight and get the Nine. The audience can't understand this, because the scene is showing us Marvel action-hero fight instead of actual raw emotion (like we got on Season 1 finale).

[ask-whitepearl-and-steven]

I admire your patience with those readers who need you to spoon feed them the story. Everything is in the comics but they still manage to go pass it. I can't help but feel a bit sad for them? Do they not understand what they read? Are they not attentive when reading it? I'm legitimately concerned because I function so differently I can't fathom this. If you like a story, isn't it normal to make your best to grasp it's essence and reflect on it? I know I project a lot about this, everyone works and registers things differentely of course but sometimes it's very frustrating to see people consume any media and just completely miss all the important messages in it, or even just fail to get the scenario sometimes, and it feels like it's very common now... Idk I just wanted maybe to have your perspective on this? Sorry for the long post (Been here for a few years now and your a true inspiration to me. All my luv to you! ❤️)

You know, I'm gonna be honest. I used to stress out about this... a LOT.

As a story-brained person, this is definitely something that comes naturally to me, and perhaps to you, and to many other people who are wired similarly. To us, following the path of a story in an analytic, highly detail-motivated manner and unwrapping the themes can be as exciting as lifting up a rock to see the bugs underneath. It's an exciting mental activity that's stimulating and feels effortless.

And yes, as an author who spends literally 60% of my day thinking about this comic and how to draw it, panel it, script it, make it better (I script and panel in my head constantly)........ I have trouble realizing/dealing with the fact that some people are just here to CASUALLY enjoy the story that I am lowkey obsessed with.

But I've come to realize that... that's NORMAL! And healthy.

People have different attention spans for different things.

People have varied ways to read a story and engage with it.

People have unique interests.

People don't have the same amounts of energy to devote to reading!

Maybe someone missed a detail I lovingly and painstakingly put into the dialogue because they're reading the update late at night after a long shift at work. And maybe someone scrolled past the dialogue completely and just got the gist from looking at the art, because they're in a hurry to get to practice at their favorite sportsball.

And maybe someone just had a really bad day with a really bad encounter, and they're reading the update in a terrible mood and instead of seeing MY grey-morality narrative, they're focusing on all the negative points and misread the vibes because of their own biases that stem from places of hurt.

The thing is, I have to be okay with that as an author, because I will NEVER be able to get into my audience's heads and read this comic 'correctly' for my own sake.

They will always have a slightly different interpretation of things, and they will always misunderstand details and miss clues. And sometimes, they will be wrong about the way they read a character's motivations... and sometimes maybe they won't be! That's just a part of communication. That's a part of telling a story.

An imperfect delivery, and an imperfect reception should, in my opinion, be a natural and accepted part of storytelling. We're human, and we all have a different lived experience, and we will ALL have different takes on a comic, even if it's so close that we THINK we are both getting the exact same thing. That small human interpretation variation is a home-made touch that makes it feel more organic.

In short.... Not all light particles make it here from the sun, but damn the result is stunning anyway.

[bowtiepastabitch]

Heaven's Not Homophobic in Good Omens, and Why That's Important

I need to preface this with, I am not trying to start a fight or argument and won't tolerate any homophobic or bad faith arguments in response to this. Cool? Cool.

This is in large part inspired by this ask from Neil's blog, which sparked some discourse that I don't want to get involved in but that brought up some analytic questions for me.

He goes on to reblog a question asking about Uriel's taunt specifically, clarifying that "boyfriend in the dark glasses" can just as easily be read/translated from angelic as girlfriend or bosom buddy. The idea is that an angel and a demon "fraternizing" is seriously looked down upon, not that heaven is homophobic. And that's super important.

We see homophobia in both the book and show, of course. Aziraphale is very queer-coded, intentionally and explicitly so, and we see the reaction of other humans to that several times. Sergeant Shadwell, for example, and the kid in the book that calls him the f-slur when he's doing magic at Warlock's birthday party. These are, however, individual human reactions to his coding as a gay man.

I am, personally, not a fan of heaven redemption theories for the show; no hate for people who want that it's just not something I'm interested in. I don't believe that heaven is good with bad leadership, or that God Herself remains as a paragon of virtue. To me, that's not in line with the themes and messages of the show. It's important, however, that heaven doesn't reflect human vices. Heaven can be nasty and selfish and apathetic in its own right without ableism, homophobia, transphobia, or racism. This matters for two reasons.

Firstly, we don't need the -isms and -phobias to be evil or at least ethically impure. In a world where we spend so much time fighting against prejudice and bigotry, our impulse is to see that reflected in characters whose motivations we distrust or who we're intended to dislike. While it's true that that's often the big bad evil in our daily lives, it can really cheapen the malice in fictional evil from a storytelling standpoint. A villain motivated by racism or as an allegory for homophobia can be incredibly compelling, but not every bad guy can be the physical representation of an -ism. Art reflects the reality in which it's crafted, but the complexity of human nature and the evil it's capable of can't be simplified to a dni list.

Secondly, and I think more importantly, is that for Good Omens specifically, this places the responsibility for homophobia on humanity. If you're in this fandom, there's like a 98% chance you've been hurt by religion in some way. For a lot of us, that includes religious homophobia and hate, so it makes sense to want to project that onto the 'religious' structure of Good Omens. It's a story that is, in many ways, about religious trauma and abuse. However, if heaven itself held homophobic values, it would canonize in-universe the idea that heaven and religion itself are responsible for all humanity's -isms and -phobias and absolve humans of any responsibility. Much like Crowley emphasizes repeatedly that the wicked cruelty he takes responsibility for is entirely human-made, we have to accept that heaven can't take the blame for this. To make heaven, the religious authority, homophobic would simply justify religious bigotry from humans. By taking the blame for religious extremism and hatred away from heaven and the religious structure, Good Omens makes it clear that the nastiness of humanity is uniquely and specially human and forces the individual to take responsibility rather than the system. Hell isn't responsible for the Spanish Inquisition, which by the way was religiously motivated if you didn't know, and heaven isn't responsible for Ronald Reagan.

This idea is perhaps more strongly and explicitly expressed in the Good Omens novel, in the scene where Aziraphale briefly possesses a televangelist on live TV. It's comedic, yes, but also serves to demonstrate that human concepts of the apocalypse and religious fervor are deeply incorrect (in gomens universe canon) and condemn exploitation of faith practices. Pratchett and Gaiman weave a great deal of complexity into the way religion and religious values are portrayed in the book, especially in the emphasis on heaven and hell being essentially the same. They're interested in the concept of what it means to be uniquely and unabashedly human, the good and the bad, and part of that is forcing each individual person to bear the brunt of responsibility for their own actions rather than passing it off onto a greater religious authority.

Additionally, from a fan perspective, there's something refreshing about a very queer story where homophobia isn't the primary (or even a side) conflict. The primary narrative of Good Omens isn't that these two man-shaped-beings are gay, it's that they're an angel and a demon. The tension in their romantic arc arises entirely from the larger conflict of heaven and hell, and things like gender and sexuality don't really matter at all. Yes, homophobia and transphobia are very real, present issues in our everyday lives, but they don't have to be central to every story we tell. There's something really soothing about Crowley and Aziraphale being so queer-coded and so clearly enamored with each other without constantly being bombarded with homophobia and hate. It's incredible to see a disabled angel whose use of a mobility aid makes no difference in their role and to see angels and demons using they/them pronouns without being questioned or misgendered. It's all accepted and normalized, and that's the kind of representation that we as queer people deserve.

[zahri-melitor]

I want to go on more about The Boy Wonder #3, because it’s just really on top of aspects of the Tim and Damian problem without taking sides or getting aggressive.

Damian’s failing in it is that he is so ready to misread Tim’s intentions that he doesn’t stop to think that Tim is equally undercover like he is and overlooks what he knows about Tim’s skillset. (Someone here is jamming your signal, Damian? What a mystery who that could be)

Tim’s failing in it is that he doesn’t bother to explain the plan to Damian, doesn’t expect Damian to listen to him and follow his lead, and he doesn’t trust that Damian won’t betray him, so he plans around him.

BOTH of their plans don’t consider the other as active participants, but Tim’s is able to adapt on the fly to take into account Damian’s actions, while Damian with a lot less experience in team environments cannot.

I can tell you feel bad about killing that guy. But do you feel bad because you hurt someone...or because you were punished for it? Do you only feel bad because you got found out?

And yeah, that’s the thing with early Damian.

Tim’s mistrust is completely understandable. Even as he grants Damian grace - “I know you feel guilty about it” - he points out he doesn’t know the reason for the guilt and that also has meaning to Tim, because he doesn’t know if the growth associated with the regret has happened.

Damian's actions that Tim sees do fall into this valley of 'why are you guilty'. Whereas Dick and Bruce both see Damian's growth and attempts to make amends, Damian's prickly enough that Tim largely does NOT see that and instead gets Damian who doesn't trust him, who reads the worst intentions into Tim's actions...and so Tim does the same.

They even out! You can see it on page in places! But 'doing the right thing because someone else wants you to' and 'doing the right thing because YOU want to' are two different steps, and we watch Damian go through both, and early on he is definitely not yet at appreciable self motivation.

And when Damian does demonstrate this growth for Tim in the story:

You stuck with doing what was right, even when it was hard. I appreciate it.

He acknowledges it and takes it into account!

And look part of the misunderstanding here is definitely that Tim doesn't slow down and explain his plans to Damian. He's used to working with Bruce or Dick where he wouldn't need to, he's also had bad responses when he's explained to Damian before, so he treats him as an obstacle or a spoiler in the mix that he plans around and uses as a distraction but doesn't bother to explain his actions to.

(Also Damian is just. so young. in this. He can't tell that Tim's playing along to let people tell him the information he wants)

Just an hour ago, the prince had seen this same brother abuse his gifts for personal gain...hadn't he? And yet here he was, setting that aside to join the prince in doing what was right. A reminder you could indeed start wrong and course-correct. It's never too late to act better.

If he had inspired his brother toward such a change, maybe he could live up to his father's expectations after all.

Ahahahahaha Damian. Baby. Tim was schmoozing Oswald Cobblepot and Lex Luthor and Veronica Cale for a purpose! Tim does not think they are good people to work with! He was trying to get information out of them! He needs to know what they're up to for the family company! Tim is not going to trust Luthor or Cale!!!

And yet baby Damian here is still telling himself a parable that he saw growth in Tim so he can also live up to that growth. He 'inspired' Tim.

Character centred storytelling at its most hilarious. But also quite sweet - because it's just another level of 'the problem between Tim and Damian is they misread each other and exist in the other's blindspots', so the resolution STILL having Damian with that giant blindspot but working it through in his head to put Tim into a slightly better light is actually a creative and interesting way to approach the growth.

Also funny. SO funny.

[margareth-lv]

⛓️ When art and life become one ⛓️

I believe fairy tales have a great deal of therapeutic power. And there's nothing quite like a good story.

As I’ve written here a few times before, I first started watching Outlander in 2020 – a challenging year for us all. At that time, we all needed a good story to take our minds off reality. And to move into the catharsis that art offers. You can imagine my excitement when I realised that two actors (who were so obviously in love) playing the characters in the story were born around the same time as the characters they were playing.

James Alexander Malcolm MacKenzie Fraser, born on 1 May. Sam Roland Heughan, born on 30 April. Both Taurus, just like me. Claire Beauchamp Randall Fraser, born on 20 October. Caitríona Mary Balfe, born on 4 October. Both Libra.

And, as you might expect, in both the play and real life, she is older than he is. Isn't it wonderful how things just fall into place sometimes? There’s always something to ponder, think about and enjoy.

But it's been a while since we've seen joy in "enjoy." The Taylor Swift concert is the exception that proves the rule, here.

I'm getting tired of the low-level storytelling we've been presented with for a while now. This story is the worst of the worst. It’s a pretty poor selection of C, D, and E cinema.

And it's pretty sad how two people, who literally built their relative public recognisability on being the 'hottest couple on the screen', are now pathetically role-playing their supposed 'real love lives'. And neither of them succeeds. They're also pretty weak actors in their roles of romantic lovers (I'm thinking mainly of Sam here). Let me just say that they're not pathetic only when they're together. *** *** *** When I saw the blurry, embarrassing footage from this weekend's Giorgio Armani Tennis Classic (tagged #ad on Sam's Instagram), my first thought was that it was a spectacle for us, our Tumblr fandom. There's no one else who would be interested in something you have to look for with a magnifying glass, zooming in, spending long minutes stopping frames of film. Then I got reminded about the Wimbledon Tennis Championships back in July 2019 and another poor performances by 'bride' and her 'groom' a month before their 'wedding'.

Do you remember those pictures?

First wife, second wife, Claire Beauchamp Randall Fraser and Laoghaire MacKenzie, I mean, Evie Greenwood, a primary teacher.

You know, realism and art all blend together.

We first saw this kind of kissing being reduced to sucking on the partner's upper lip in what we were forced to think was Sam’s ‘real life’, and then we saw the same thing on screen.

And what about Sam's somewhat embarrassing performance in The Couple Next Door? Which other actor in that film has exposed themselves so much (and so pointlessly), in a literal sense?

How many of us thought Sam's performance in the erotic scenes in TCND was not sexy at all, but disgusting?

I did.

Wasn't that display of Sam's rhythmically moving buttocks as distasteful as his other performance a few weeks ago?

Seriously, I would never want my husband/partner/father of my children to behave like this. There's no money worth it. But maybe there is.

Sometimes I feel sorry for them, sometimes I don't. Sometimes I remind myself of how jealous Cait can be.

How on earth do they manage to live like that?

[3 July, 2024]

[dekariosclan]

I've got a hopefully interesting Gale ask! While we all know how our dear wizard fumbled his way into a deep, loving (romantically or platonically) relationship with Tav, we don't see much about how he bonded individually with the other tadfools. He obviously considers them all his true friends (even Minthara), but what was the unique connection he built with each one beyond saving the world together? Like I could see Gale and Wyll becoming fast friends based in mutual respect and a shared love of storytelling, for example, but what about Astarion? Or Shadowheart? What do you think it was that made them curious enough about each other to let down their guards and allow a connection to form in the first place?

Something in me says it takes more than forced proximity, a shared goal, and passive sentiments for Mr. "My Social Circle Is More Of A Dot" Dekarios to call someone a friend.

This is definitely an interesting ask! 💖 Thank you!

I confess that while I did try to make these somewhat accurate and base them around the in-game banter I recall seeing, I mostly went with my gut instinct…hopefully I did everyone justice: Wyll - Romance books. Wyll tends to prefer the trashier ones, Gale tends to prefer classy (think cheap generic paperback bodice-rippers vs Pride & Prejudice) yet they both end up loving the other’s recommendations: “Gale, that book was marvelous! It brought a tear to my eye, truly!” “Wyll, I confess the title you lent me was not one I would normally have taken an interest in, and yet, I found it most…stimulating. Do you have…others in a similar vein that you can recommend?”

Karlach - Favorite ales & favorite taverns, along with more than a few swapped tales of drunken mischief (either being committed by them in their younger days OR witnessed while at a tavern). They both know several popular tavern shanties and on one occasion perform a duet in camp.

Astarion - Colognes/perfumes. The fact that Astarion wears a pleasing scent of bergamot, rosemary, and aged brandy to successfully hide the unpleasant scent of—well, death—would intrigue Gale, especially when Shadowheart mentions that Gale himself tends to smell ‘like a wealthy dowager.’ A wealthy what? He most certainly does not—how ridiculous—still, he would greatly appreciate any recommendations Astarion might have on how to correct that??

Lae’zel - Githyanki culture. Language. Literature…especially porn Studies on Erotic Pleasures in the Astral Plane.

Minsc - Any/all tales of Gale’s wizardly shenanigans and troublemaking. The ones involving fires or explosions are Minsc’s favorites. Boo’s as well.

Shadowheart - Commiserating over the pitfalls of worshipping and serving a Goddess who only sees you as a tool to be used. They have a lot to talk about.

Halsin - Nature spells and animal shapeshifting. A fascinating topic to Gale. Especially regarding…potential applications in the bedroom. That is, if Halsin might have particular knowledge on that subject?

Jaheira - Tales about the Harpers. The more outlandish and the less likely to be found in the history books, the better.

Finally, Minthara.

Minthara is 1000% a cat in Drow form. One who knows she is superior to every other companion, and who will bite (verbally) anyone who tries too hard to befriend her. Every discussion Gale attempts with her is a landmine that usually ends in some sort of devastating roast of Gale and/or wizards in general.

…but Gale is a cat lover, and he’s SURE that if he’s patient just a bit longer—

[beguines]

Landscape helps capture the forms in which nations and movements literally and figuratively 'construct' or 'produce' nature, engineering its appearance and infusing it with significations—rendering landscape a 'cultural practice' rather than a given fact. Here landscape is both an object of investigation and a site of intervention; the very medium within which power and resistance are represented and conducted. Put differently, landscape is far from a neutral backdrop but is rather activated, serving as the medium of violence. Dispossession, deforestation, planting, land-grabbing, and acquisitions, privatization, re-modeling, clearance, or the destruction of infrastructures of life, including food sources, buildings, or supplies, all mobilize the landscape in their domination.

Representations of Middle Eastern and North African landscapes nearly invariably include desolate scenes of endless empty and parched deserts, decorated perhaps with an isolated string of camels, or a beach with large mounds of golden sand, a minaret, or an oil tower in the background. The temporality and general impression of these landscapes is slow, hazy, and dizzying, as if they are waiting for 'activation' by someone or something outside of it. Whether reproduced in academic scholarship, literature, film, tourist advertisements, or news media, these imagined colonial representations of the region's landscape place the environment centrally within them, projecting an understanding of the Middle East and North Africa as marginal, on the edge of ecological viability or as a degraded landscape facing imminent disaster due to human inaction. With this, an environmental imaginary enabled storytelling that pushed forward imperial interests in the name of 'development' and, later, of environmental 'sustainability' and 'protection.' In the case of the constructed 'Middle East,' as Diana K. Davis explains,

"Deforestation narratives have been particularly strong in the Levant region since the nineteenth century, where some of the most emotional accounts of forest destruction have hinged on the presumed widespread destruction of the Lebanese cedar forests illustrated in the cover image by Louis-François Cassas. Similar narratives of overgrazing and desertification were used during the British Mandate in Palestine to justify forestry policies as well as laws aimed at controlling nomads, such as the 1942 Bedouin control ordinance, in the name of curbing overgrazing. Such environmental imaginaries, once constructed, can be extremely tenacious and have surprisingly widespread effects."

In Palestine, the construction of an 'Israeli landscape' to redeem the purported damage done to the land by its indigenous population commenced with the first Zionist settlers in the nineteenth century and intensified with the establishment of the State of Israel in 1948. Reflected in former Prime Minister David Ben Gurion's 1951 public address to the newly formed Israeli Knesset (Parliament):

"We must wrap all the mountains of the country and their slopes in trees, all the hills and stony lands that will not succeed in agriculture, the dunes of the coastal valley, the dry lands of the Negev to the east and south of Baer Sheva, that is to say all of the land of Edom and the Arava until Eilat. We must also plant for security reasons, along all the borders, along all the roads, routes, and paths, around public and military buildings and facilities [ . . . ] We will not be faithful to one of the two central goals of the state—making the wilderness bloom—if we make do with only the needs of the hour [ . . . ] We are a state at the beginning of repairing the corruption of generations, corruption which was done to the nation and corruption which was done to the land."

This 'Israeli landscape' was largely cultivated through the multifaceted and by now well-documented eco-colonial practices of the quasi-governmental Israeli organization, Keren Kayemet L'Yisrael, the Jewish National Fund (JNF), which has since made striking efforts to position Israel as an environmental pioneer. Established in 1901, the JNF may very well be the first transnational environmental nationalist NGO, seeking to 'make the desert bloom' by planting forests, natural reserves, and recreational parks over the ruins of Palestinian villages, holy places, and historical sites. Distinguishing itself from other transnational Zionist organizations, such as the World Zionist Organization and the Jewish Agency, the JNF has since its inception portrayed itself as an environment-oriented nationalist organization, supporting the 'redemption' and 'reclamation' of the land through colonial policies presented in the language of preservation, maintenance, protection, and development of vital ecosystems and ecologically sound environments. Indeed, its public-facing promotional materials boast proudly that "Israel is the only country in the world that entered the twenty-first century with a net gain in the number of trees"—without context, of course, of the ways in which trees and the 'greened' landscape in the country are mobilized as weapons of erasure as part of a colonial imaginary that naturalizes non-Palestinian presence.

Shourideh C. Molavi, Environmental Warfare in Gaza: Colonial Violence and New Landscapes of Resistance