#FeH

[calamari-inari]

No new art this year, but happy birthday to Dimimi.... 🥺🥺🥺 I love you king

Happy birthday Dimitri!!! 💙

I love his new Christmas outfit... 🥺 And the plush!!! Can't forget the plush!!!

I haven't made a more polished drawing of Dimitri in forever.... This was the birthday art I made for him back in 2019 and apparently I like to draw him holding plushies lol 🐧 (It's my favorite penguin plush from miniso!!)

[lampreylarry]

Justice Cabal strikes a pose!

An amazing art commission I just got from @hiomaika on twitter

I love it alot! 😊

Owain, Morgan, and Cynthia are striking very familiar poses, Do you recognize them? 👀

also an additional alt of Owain putting more of his flair into it.

[feshippingpolls]

Everyone out here putting the bi in bitch but who else up

[xander-wolk]

Hríd art to celebrate 1k followers on bsky🩵☁️

[maggie-candy999]

THE PRIDE I FEEL IN THIS ONE!!!!! 😭😭😭

[unmaskedknight]

so three dragons and a dog walk into gekkoukan high

[pathetic-gamer]

trying some new styles and brushes and stuff 🙏

[vickyt-mv]

pandreo for @shadow-yato as part of the FE gift exchange hosted by @feshippingpolls 🧡🧡

his hair was challenging but still fun! i think i might use him the next time i play engage ✨

[hulloitsdani]

hi dani fire emblem :) do you happen to have any thoughts on book 6 "I'm going to kill you too" scene?

Please, Dani fire emblem was my father. Just call me HulloIts.

As for the scene in question, oh man. It’s the “I’m going to kill you too” scene, what more can I add! I got some tweaks and reads on Letizia, but I feel like that scene speaks for itself. You don’t need me to tell you why it’s good— It’s one of the moments where feh’s writing really works.

Instead, I think what I can offer to the conversation is an analysis on Alfonse’s three gambit scenes and how they relate to each other. Because taken as a package, I find it fascinating how these scenes are treated by the narrative over time. Alfonse’s ability to pull these off is such a massive boon, but it’s been steadily growing into a delightful character flaw over the years.

Now, let’s back up. What do I mean by Alfonse’s gambit scenes? This is in reference to three scenes that have occurred throughout heroes: Alfonse calling Hel’s bluff in book 3, threatening Letizia in book 6, and his plot to cover for Ratatoskr in book 8. Also known as “Because it means that it is your life that will end in nine days’ time,” “I’m going to kill you too,” and “My saviors have arrived.” These scenes are defined by Alfonse risking everything on a charisma roll. There might not actually be any dice rolling, but that is certainly what it feels like. If he’s wrong about Hel’s curse, he’s dead. If he can’t convince Letizia of his ruthlessness, then he’s super dead and everyone’s screwed. If he doesn’t perfectly sell Hraesvelgr’s assassination attempt, then him AND Ratatoskr are, you guessed it, dead.

These are gambits— major risks with massive rewards. And what’s unique about Alfonse’s brand of it is that they occur on a social level. He’s not, for example, tactically sacrificing a hero for the chance of inflicting enough damage/debuffs so another can to land the kill. He’s not a tactician at the end of the day and has not been shown to be able to crunch those numbers that fast. Instead, he’s weaponizing everything he has gleaned about his enemies as people and staking his life on it.

Now, he does not do that without motive. For all of these scenes, he’s attempting to protect people while backed up into a corner. Using his encounter with Letizia as an example, she’s rather successfully forcing the Order’s hand into surrendering by sending innocent people to the Shadow Realm— I mean Embla’s domain. She’s working under the assumption that the Order, you know, cares about that type of thing. If Alfonse can successfully menace her into believing the opposite, even if for just a short time, it can give them the wiggle room to better position themselves and lessen the use of human shields as it would not longer be a tactical option. He’s protecting his friends and his people in one swoop at the expense of himself. Pulling that stunt with the lady who specializes in weaponizing information is a recipe for his future disaster, but that’s a loss he’d take in a heartbeat in order to keep everyone safe.

The same can be said about his encounter with Hel. He openly invites her to curse him, because in that nine day timeframe, he can ensure he drags Hel down with him. This is an infinitely better option for him than Hel slowly picking everyone off with her curse. Now, out of the three scenes, this one is notedly the most heroically coded and the most corned our protagonists are. We just spent an entire opening act witnessing the lethality and unavoidability of this curse. Of death herself. Alfonse, having had to spend that time accepting his own mortality, successfully weaponizes that acceptance against a cruel and power hungry death. That’s signifying a growth and change of his character. The success of that gambit permanently puts his own life on the gambling table. Which, in accordance to book 3’s themes of death, is a positive thing. But, as time goes on, this idea gains more nuance.

Which brings us back to Letizia. We are not narratively in Alfonse’s head when he pulls off this gambit. We understand the boy smiling in the face of death, because we have seen everything leading up to that point. We, comparably, do not initially understand the boy smiling as he says “I’m going to kill you too.” He has to explain himself afterwards. It’s very jarring as a result. Against a cruel god blinded by hubris, this gambit feels like overcoming against all odds. Against a mortal woman who successfully outsmarted him? It’s concerning to see that he has the capacity for that malice, even if it was not real. We didn’t have the context of Líf when Alfonse initially had that confrontation with Hel, but we do now. It colors all these more morally complex actions whether we want it to or not.

This brings me to the scene in book 8, which is by far the most interesting in my opinion. For the entire first half of that book, we are seeing the social manipulation game Alfonse excels at. He’s not the most friendly or personable, but he’s smart and good at pattern recognition. He knows the information his enemies have and successfully predicts their actions based on that. And he, unfortunately, correctly recognizes that Ratatoskr is coming under greater risk of being found out and getting potentially murdered on their behalf. If there is a mole, it’s going to be her. So he comes up with a scheme to ensure her safety via the best tool in his arsenal. Ole reliable, gambling his own life.

But, interestingly, this time he’s not simply trying to convince his enemies of his deception. No, the charisma check he has to pass here is deceiving his own allies. Against Letizia, keeping his friends out of the loop made a bit more sense. The narrative he was selling was that HE was the farce within the Order. His sister looking surprised at his “true nature” helped. That is not the case here. He kept his friends out of the loop to partially help sell the illusion that this assassination attempt was not planned, but mostly because they would not have allowed him to do this. They would not have approved of this overly dangerous plan, if the serious convincing required for Anna to let him go meet Veronica by himself is anything to go by. But this was the only way to ensure Ratatoskr’s safety, so he did it anyway. That is a fascinating character choice and I wish it caused more character conflict, but I auppoae that’s what fanfiction and fanart are for.

Nonetheless, it’s fascinating how this behavior went from inciting a downright celebratory feeling to a more “what the hell is wrong with you?” reaction over time. The acceptance of his mortality in book three has straddled and then passed the line of overfamiliarity in book eight. This then pairs itself with his innate desire to protect those he cares about in ways that feel inevitable. If he doesn’t make that choice to put his life on the line, then it’s characters like Kiran experiencing the fallout. Or at least, that is how he perceives it after the events of seasons like book 5 and book 7. If their enemies are constantly trying to separate them, then maybe if he manually triggers it and puts the enemy focus on him instead, things will be better. The people he cares about won’t get hurt. It’s totally fine, he swears. He can take a hit.

[campaigningforengage]

Timerra deserves more love

People are so distracted by her singing, eating, and wild antics that they don't see how active and focused she is a future queen. Timerra takes a very personal approach when it comes to helping her citizens. She is constantly fighting off bandits, interacting with everyone face-to-face, and learning about their struggles not only from a political level, but also on a smaller individual level

Timerra is the most self-assured and confident of the crown royals. She rarely feels burdened or stressed about taking the throne. Being princess is her birthright, but being queen is her dream. Accepting the responsibilities of a ruler isn't a choice for her, because there's nothing else she'd want to be

[robboyu]

daily robin day 64

[yeyayeya]

Jugdral Valentine’s banner

Trust guys it’s gonna happen

[melinoexart]

I post more regularly @/melinoexart on Twitter, but will try to keep up here lol

Anyways, here's Hilda

[phantomantzart]

cutest dark mage in all of plegia

[angelhht]

Birthday boi✨