#Hope you all are interested in learning about them!

[angelltheninth]

Arcane Characters Make Food for You

Pairing: Jinx, Vi, Caitlyn, Maddie, Ekko, Vander, Silco, Sevika, Viktor, Jayce, Mel x Fem!Reader

Tags: fluff, established relationship, domestic fluff, kissing, making food, teasing

Ko-Fi | Rules | Fandoms and Characters

A/N: I already wrote this on my old blog but now is a good time to re-write it.

Jinx knows how to cook pretty well, surprisingly enough. Or maybe not so surprisingly given how she's always the one making things and experimenting. However that also means she might make some really weird meals.

It's something you'll have to deal with if you're with her and might have to develop a strong stomach. She already has it because she grew up in Zaun and ate a lot of different things. For you she wouldn't recommend some of them yet and she will try her best to make something that you'll like. And she won't get too offended if you don't eat her cooking right away.

"I made ya some breakfast, ta-da! It's a little sticky but don't worry, eat your fill and I'll clean up the mess later. Don't look at it like that, it might not look pretty but I promise ya it's so good. I could eat this every day. I hope I'll get to eat it together it with ya every day, sugar."

Vi doesn't know how to cook because she never had the opportunity to learn. The first few dishes are bad, like really bad, almost burn the toast and eggs type of bad but Vi she isn't the kind of person to give up. She'll keep trying until she gets it right.

There have been times where she did burn things and she won't let you eat it since it's not right. She wants you to have the best of the best, even if she didn't. Might get a little distracted when you're in the kitchen with her so she prefers to cook by herself even if you're there with her. Regardless of how many times she gets it wrong she at least wants to learn to cook your favorite.

"Yes, this is burned toast but this time it's not my fault, it's yours. Well you're the one who walked in here looking all cute and distracted me. One kiss is all it takes if it's from you, sweet stuff. Sit down and let me do this right and if you do you'll get something sweeter than this."

Caitlyn knows how to cook really well. She did grow up with people doing the cooking for her however she was curious and wanted to learn how to do it on her own. She's a very hand-on learner, now she can use some of her skills to make you happy.

She gets up really early anyways so she might as well make breakfast for the both of you. The first time she brings you breakfast in bed she thinks your reaction is cute, the way you stare at her, eyes wide and drooling over the food. For her it's not odd to have breakfast in bed. And if you stick with her you'll get used to her pampering you. Be sure to tell her how the food tastes.

"Good morning, darling, I brought you something. See, I didn't just brag about my cooking skills, this is me showing you I can cook. Showing off? Suppose I am a little bit, it's not my fault you didn't really think I would bring you breakfast in bed."

Maddie can cook some dishes but she can cook them well. Her skills aren't anything impressive but they don't need to be because she can get take out too. But she is more than happy to share what ever she makes with you.

She falls back on take out more often than she would like to admit. However not when she invites you over to her place, then she will put her best foot forward. A lot of that is because she wants to impress you hard, but it also gets her to work on her skills either way she wins. She keeps looking at you very intently while you take that first bite. Thankfully she doesn't seem to do a bad job if your smile is anything to go by.

"I'm not weird for watching you eat, it's called being smitten, gorgeous. Anything you do is interesting to me, you know that by now. This isn't empty flattery. I already got you to eat my cooking, I don't need to butter you up at this point."

Ekko isn't the best cook out there, he will be completely honest with you. While he does know the basic things you can't really expect anything fancy. If anything he focuses more on the dish being filling than tasty.

The thing about him cooking for the two of you is that he can only do it on his free time, which isn't a lot. Therefore he wants to make it a bonding activity. A cute date of sorts, mostly in the late evening when the rest of work is done. Sometimes he will try to surprise you but its hard when his living space isn't that big and everyone knows everything in the Firelights. The gesture counts.

"There wasn't much time so it's pretty simple, but at least it's your favorite, Firefly. No, I actually finished the new project, I had extra time to kill. Please, don't thank me! It seemed only right for me to make you something after you cheered me up this morning."

Vander knows how to cook really, really well. He kids to raise, and he was on his own for a very long time, he had to become a good cook. Plus he makes awesome drinks, being a good cook was a bonus skill for him.

He's always the first one to wake up and start the day in the Last Drop and he always makes breakfast for everyone. Not just breakfast but every meal, his kids need to eat a lot, there's always a little left over for later. Even if he feels a little sleepy himself he at least wants to put something on the table. It's the dad instincts in him. And husband instincts, hopefully.

"Don't ya even think about sneaking up on me right now, darlin'. I've got a pan full of sizzling hot oil in my hand, I don't want it all over us. Hugs are fine, I always love ya being close to me, but keep your hands to yourself. We both know ya get handsy in the morning."

Silco didn't know how to cook before he adopted Jinx, since then he's had to learn. It wasn't easy but now he does know a lot and he can impress the woman he's dating. Now when you stay over you can expect good for for your date, and good food when you wake up.

When the dating gets more serious he lets you help him cook, but until then he pretty much does it on his own. Jinx will go nowhere near the kitchen alone, not after that one explosion. He does have a list of recipes that he makes the most. And a few that he made up. Sometimes ingredients are hard to come by so he needs to improvise.

"Pass me the flour would you, love? This time I will follow the recipe, yes, the last time there was a bit too much sugar in there. I know you liked it but it's not the healthiest thing now is it? Fine, call me a worried dad, I know you think it's attractive."

Sevika isn't able too cook that well, she never was, she always liked others cooking for her though. However when you tease her about it she takes it as a challenge. And you know damn well that she doesn't back down from a challenge.

Curses a lot when she messes up, though you can bet that she's not gonna let food be the thing that beats her. When you walk into the kitchen it's a mess which will take a while to clean up. But at least she managed to make the dish this time and it's quite good. For her hard work you give her a very passionate kiss and that just makes her wanna work harder. That's the best reward she can ask for.

"One kiss for at that work, doll? I think I earned myself a little more than that, maybe you on the table instead of all this food. Yeah, I know it's gonna get cold, you're right. Can't let all this hard work go to waste, but when we're done we have to work all that food off."

Viktor doesn't have as much time to cook as he could if he worked a bit less. Not that his skills are award worthy but he can make a few things, at least in his opinion. Give his cooking a chance.

When he was a student in the academy he had to learn how to make quick meals and that is where most of his strength is. Just very simple dishes but he knows how to make them well. There are times when he himself forgets to eat so he makes sure he gets a good meal when he can. If you're part of that that's even better. Having you eat his cooking makes cooking more fun.

"If you think cooking this is so easy then you make it will you, beautiful? Ah so now you like it, I see how it is. I'm just kidding, I love making food for you when I can. But if you want to make it yourself please let me do a taste test first. I promise to be brutally honest, just like you are with me."

Jayce has absolutely no skills in the kitchen unless you need him to fix or build things in there. He knows this too and will admit it right away. Trust him he is much better in science than in cooking food.

That being said he will join you in the kitchen when you cook. He takes an interest in it because the way you cook makes his mouth water. When he learns about what your favorite food is he wants to lean how to cook it. However he does this in secret because he wants to surprise you. Sure enough he's able to get the biggest smile out of you when he presents you with your favorite meal.

"I learned it secretly, all for you, babe. Well I am quite good with my hands and I enjoy working, that was just another excuse to learn. Of course I don't have an ulterior motive for it! But if I did... and if it was kissing... would you kiss me for doing a good job?"

Mel is actually an amazing cook and knows a ton of recipes. Including your favorites of course. Do you really think she'd invite you over and offer you nothing to eat?

It's been a long time since she had to cook for anyone but herself but she's not bad at it at all. She has high standards when it comes to good food specifically because she holds herself to high standards. It doesn't matter how simple or complicated the meal is. When she invites you over and offers to make you food you better believe you're eating good that night. Not strictly food either.

"Beloved, slow down a little, the food isn't going anywhere and neither am I. We have all night. Every time I make food I do so because I want to enjoy a good meal, and you should too. And please be careful, I don't want you to choke, on the food that is."

[thunderingreign]

The solution is to build up power inside our local communities outside of capitalism by getting involved with (or starting) an organization seeking to do that. We have to look to Leftist organizers for guidance. We have to look to historical Leftist strikes, resistances, and rebellions and learn from them, critically sifting through the actions of the past in order to not make the same mistakes.

“Be A Revolution: How Everyday People are Changing the World and You Can Too” by Ijeoma Oluo is an AWESOME book to read if you are feeling hopeless, drained, or are looking for how to start. One thing Oluo helped me with was realizing how capitalist-fucked my imagination was— every solution I could think of was a half-measure and I always felt overwhelmingly unsatisfied at the progress that my imagined solution could affect. Once you realize how powerful imagination is, you realize how we need to weaponize it as a means of deradicalizing people out of the death cults of fascism and capitalism, and you realize just how possible that really is. The first thing you’ll need to do when organizing is convincing other people to have hope— which is to imagine a better future.

Oluo also relays a LOT of accounts of how specific people went about starting organizations in response to the terrible conditions they were experiencing. There are men who are working against the patriarchy in prison— teaching their fellow men about how they’ve been trapped in a cage of toxic masculinity before ever being imprisoned. There are people dedicated to teaching about hierarchy and the functions of oppression. I haven’t finished it yet but the accounts I’ve read so far have changed everything for me.

So, what can you do?

First off:

Take care of yourself. You matter in so many ways to the cause— more than what you can do to make change, you are a beacon for people around you. You are a lover, a friend, a comrade. We must care for ourselves because we are loved and valued and losing us will only add to the despair people are already contending with. We must remind ourselves and each other that people are relying on us and not better off if we’re gone.

Focus on the humanity of the people around you. Are you surrounded by republicans? Focus on your mutual interests and don’t assert your differences— people will work with you while still calling themselves conservatives, so take advantage of that. You don’t have to be friends with everyone in the movement, even if having friends already engaging in direct action makes it way easier to do so yourself. Remember our goal is not ideological purity— it’s affecting change and change is all about numbers.

Keep moving further Left and continue questioning authority. These problems have been going on for hundreds of years, and they were never going to be solved by a system that exists to arbitrarily prevent people from access to human needs. We must look to the people who have already been in the fight rather than continue deferring to politicians.

If you’re able:

Volunteer at any local organization that is providing food or shelter— even if they are conservative, volunteer. Having that volunteer experience can help you see how those organizations are structured and who in your community is being failed by them.

Start an org for needs that aren’t being met in your local community. Start as small as you can, even as simple as starting a community garden in your backyard. It will snowball if it is helping people.

Find a spot to set up a free store. We all have stuff we don’t need anymore, instead of selling it or giving it to a thrift store, give it away to someone.

Print posters and zines and hand them out outside of high schools. We need to be engaging in tactics that work to bring young people further left and a part of that is simply informing them.

And since this is not a comprehensive list, continue seeking out radical solutions from authors and activists who have dedicated their whole life to studying and explaining. Look to the people who have been doing grass-roots organizing for years.

If you’re disabled:

spread information about how oppression functions and how to organize an assembly— you can explain to people who don’t have the time to study or who have a learning disability that make it difficult to parse the thousands of words that are used in explanation. Synthesizing info so that it is accessible to all is CRITICAL

start an artist coalition with friends and make provocative art that makes people think twice about all this shit. People are not aware of what their options are. They are also just trying to survive under capitalism.

share your knowledge on essential skills with your friends (gardening, opsec/infosec, conflict resolution, etc.) There are people who are working in these orgs that could use the expertise that you have.

Books on my TBR that could be helpful:

They Will Beat the Memory Out of Us: Forcing Nonviolence on Forgetful Movements by Peter Gelderloos

The Solutions are Already Here: Strategies for Ecological Revolution from Below by Peter Gelderloos

Beyond Cop Cities: Dismantling State and Corporate-Funded Armies and Prisons edited by Joy James

Renters Unite: How Tenant Unions Are Fighting the Housing Crisis by Jacob Stringer

Against Technoableism: Rethinking Who Needs Improvement by Ashley Shew

Let This Radicalize You: Organizing and the Revolution of Reciprocal Care by Mariame Kaba, Kelly Hayes, Maya Schenwar

Surviving the Future: Abolitionist Queer Strategies by Shuli Branson, Raven Hudson, Bry Reed

We Do This 'Til We Free Us: Abolitionist Organizing and Transforming Justice by Mariame Kaba, Tamara K Nopper, Naomi Murakawa

Becoming Abolitionists: Police, Protests, and the Pursuit of Freedom by Derecka Purnell

Unbuild Walls: Why Immigrant Justice Needs Abolition by Silky Shah, Amna A Akbar

A People's Guide to Abolition and Disability Justice by Katie Tastrom

is this fucking SATIRE??????????????????????

[cl-0v3r]

Mel is alive, but at what cost

Mel was nearly killed TWICE, her mother began being a struggle, she'd been thrown aside and trying her best to stop her, her boyfriend is not doing well, neither is anyone else (can't blame them) and the fact that she hadn't cried or spoke much about this situation to anyone a single time?? She IS upset about every single thing, yet she stays strong and enduring every bit of torture. The most she did was tell Jayce that Ambessa put her palm on the table, and let him know that she is going to push for hextech. That's it, nothing remotely related to her feelings.

The fact that she was constantly looking at Caitlyn, being able to understand her grief and knew she was in pain?? Mel knows this feeling. She'd went through it.

And in the end SHE has to pay the price of her mothers incompetence.

The intro is very much foreshadowing, we know the hands represent black rose/LeBlanc.

This is what happens in act one, she gets kidnapped by them. The lyrics do correspond to the characters as well (not just Mel, everyone.)

"Tell you you're the greatest" plays as a petal of the black rose floats down the screen, I think it adds significance to the power this organization holds, possibly the Medardas greatest foe.

"But once you turn, they hate us" both Ambessa and Mel were present in this line, I think its foreshadowing for when Ambessa switches up for whatever reason and goes against both Piltover AND Zaun. And Mel WILL go through change as well, a change that could hurt her relationship with others, and receive interest from others too.

"They hate us" could be read individually too, I feel like its a sort of "realization" ?? Perhaps Ambessa WASN'T the one that switched up, maybe Piltover switched up on them, and maybe Mel JUST got out of wherever she's taken to, and saw the mess Ambessa had done to her city??

I think this represents ACT TWO.

The hands pull away and it sort of looks like Mel is fighting back, a "get away from me" type of scream. you know what this reminds me of??

Don't mind me just pushing my Jinx/powder-Mel parallel agenda

Here is when i think Mel truly learns about LeBlanc/BR, she curiously and slowly goes to grab the rose, she learns about the history between her Mother and them, Kinos death, and most of all, learns about HERSELF. The lyrics speak otherwise.

"Pray away, I swear

I'll never be a saint, no way"

This feels like a parallel to caitlyn of sorts if that makes sense. Caitlyn had done everything to try and stop the council from attacking the Undercity, she kept her mouth shut when Jayce asked about Jinxs grenade, she was willing to protect Vi and the undercity, but how many times has she been tossed around? She'd been burned, exploded, kidnapped (god knows what happened during that time) and hit in the face by the same person, her MOTHER died because of the same person. She has every right to go insane. And she is hunting ONE person, which is Jinx. Although she is harming the people around her along the way.

What if Mel goes through a similar situation? Her mother pushed for war in her city, she dragged the enemy along with her even if she didn't mean to, she manipulated everyone around her INCLUDING Jayce, she LITERALLY got Mel hurt from the chembarons attack and killed so many people during a MEMORIAL to get her hextech weapons, Elora is most likely DEAD, not to mention whatever happened in the past between them. And the thing is, this will NEVER end throughout the entire season.

And what if she learns what she is? That she's 'blessed' by Kindred? The fact that the wolf is quite literally in her blood?

I feel like the "ill never be a saint, no way" also sort of indicates Mel will realize she'll never be able to push for peace and mercy like she always hoped for no matter what, and she comes to accept that as much as it hurts. But not like how ambessa accepted the wolf, but she sort of realizes she needs to push a little violence, towards nobody but the one and only, Ambessa "fine, if you want me to be like you, I guess I'll be like you towards YOU." Type of acceptance.

I think its also related to Mels new outfit too, she's dressed like her mother, in red and all of that. I will still stand by the idea that she has plans to decieve, but she will do something she doesn't want to do.

Mel was left with no choice, that lyric sounds like realization, acceptance, but also like a plea at the same time, an "I'll never be who I wanted to be" because in the end, she's still a Medarda, she's still her mothers daughter, she still has violence in her veins, she will never not suffer from the weight her name holds, and she will never escape it either, its like a shadow.

The Characters won't be themselves at their core this season. And those vital parts of their characters that represent them are no longer there in the intro, they all have given up what makes them, THEM design wise. (e.g.) Vi without her tattoo, Viktor hiding his identity with the mask. And the thing is, they did that to themselves because they do self-harm, they're changing themselves because THEY want to, they're forcing themselves to do that, they think they're undeserving and they're erasing their past selves.

But Mel? Mel doesn't have her gold accessories, Jewelry, or her Armor, she'd been stripped bare and hidden away because of the brutality of her name. She pays the price her mother brought to HER city. She's forced to change herself against her will, because nobody is giving her a chance to push for her ideals.

This entire theory never ends, and with all of this? I kinda do see Mel actually committing Matricide, it lifts the "Ambessa will die" theory further.

[finalgirllx]

guitar teacher!ellie x smartass!reader thank you for all the meet-cute requests @thatdammchickennugget -- they are my absolute favorite and this one is a classic. i plopped a lot of my real life into this lmao. i kinda wanna do a spicy part 2 here. idk. we'll see!

you wait with bated breath inside the cramped, soundproof lesson room at your local music store, where you signed up on a whim to learn the guitar. it’s an impulse decision, really—all but doomed to be just another tick off the ever-expanding list of random cool skills you’ve tried. at the very least, you hope maybe you can whip this one out to “impress the ladies.” maybe even serenade them with some songs and actually sound good doing it—lord knows many have endured the clunky chords of a red hot chili peppers song from some mediocre man already.

you clutch your new guitar semi-awkwardly, plucking the strings and lightly tapping the cool basswood. you can tell that the tune is off, but damn if you know how to fix it. you wonder if you’ll abandon it after the first 40 minutes, just like most other hobbies you’ve sampled.

in your hasty decision-making, you hadn’t even requested a specific teacher. you’d only ever seen middle-aged men employed here, which is fine. you trust their experience, picturing some warm-hearted old rocker coming in and showing off his tried-and-true tricks. what you don’t expect, then, is when the door opens and a girl your age enters the room, extending her hand to shake yours.

“hi, my name is ellie. you’re the one here to learn guitar, right?”

you shake her hand, eyes glancing over her form, trying not to seem like a dumbfounded creep. jeez, she’s cute. she has reddish-brown hair in a choppy bob, freckled cheeks, green eyes, and a dorky smile. she’s adorned in a faded blue jacket rolled up to her elbows, revealing arm tattoos, and a ragged t-shirt with a band you’ve never heard of. and this is the cutie who will watch you fiddle with out-of-tune strings and act like a complete dumbass? you half hope the ground will swallow you whole.

“yeah,” you manage to reply once you remember how to speak. “that’s me. word of warning: i really don’t know what i’m doing, so i’m, like, a total beginner.”

ellie chuckles reassuringly, likely having heard that tired statement a million times over. she gently picks the guitar up from your lap, inspecting its quality. of course, in her hands, the instrument looks like it was made to be held by her. “hey, that’s fine. everyone starts somewhere, right?” she gets to tuning the strings as naturally as breathing.

“so, what’s got you interested in learning?” ellie suddenly asks, just to fill the dense silence of the room. your mouth runs dry, struggling with a response that doesn’t sound as idiotic as “i’m an obnoxious flirt.” she catches onto your fumbling, adding, “what? wanting to look like a badass guitar god, hm?”

“calling yourself a badass, then?” the tongue-in-cheek question escapes before you can rein it in. ellie pauses her tuning to look up at you, and your heart drops to your stomach. she’s going to kick you out, you reckon.

“i mean… you are staring at me with your mouth open. must be in awe of my guitarist badassery or something. i don’t mind,” ellie replies with a knowing, smug smile, then returns to helping your sorry ass tune up your guitar.

yep, you definitely need that hole in the ground right now.

after that rocky introduction, the lesson takes on a more professional atmosphere, with ellie explaining the basics. she teaches you about the body of the instrument, the strings, and some basic history—you name it, and she knows it. it’s clear that ellie is enthusiastic about the guitar, her interest rubbing off on you, which does not help your case with how cute you already find her.

you try your best to be a good student, which isn’t the energy you typically bring to all your other short-lived courses. there is something special about ellie’s passion—how her lips move as she speaks about it, how her eyes light up, her fingers curling against the strings while demonstrating songs—it compels your attention. you listen respectfully to the multitude of rambles she embarks on and cuts short whenever ellie realizes she has led you too astray from the basics.

at approximately the 38th minute of the 40-minute lesson, you realize that you haven’t attempted to actually play the damn thing. ellie must have come to the same realization, flashing a tilted smile, hoping you aren’t too annoyed that this instructional course devolved into a ted talk, a worry she couldn’t possibly be more wrong about.

ellie assists your clumsy self in positioning the guitar onto your lap, showing you how to hold it correctly. the closeness has your heart racing, and every touch sends shivers through you—you hope the internal gay panic doesn’t translate outwardly. ellie takes her time helping you press your fingers onto the correct strings and frets to play a simple “c chord.” her fingers guiding yours with such precision causes your thoughts to veer into thousands of inappropriate possibilities. the pose feels a tad contorted, your fingers placed in a way totally foreign to you, but her reassurance builds your confidence to try. she crouches before you, making final adjustments before her greens glance back up to you expectantly, waiting for you to try.

you strum the one chord—a passable sound that resonates throughout the guitar. it gets the job done but, of course, lacks the flow that ellie could have had. but ellie is proud, her genuine smile and silly applause flustering you.

you find yourself feeling more accomplished in this single instance than in the last three skills you’ve tried combined.

“good start, guitar god. i’ll show you another one—if you think you’ll stick to a second lesson,” ellie then suggests, an endearing smile on her face as she watches you absent-mindedly fiddle with the individual strings a bit more. an effective bargaining tactic for sure.

“yep, no problem.” easiest commitment you’ve ever made.

"hell yeah," ellie rejoices, reaching out one last time to high-five you. she looks delighted. just happy to have a new, consistent student, of course--that has to be it.

you sign up for another lesson after—and maybe another. and another.

[whineandcheese24]

what I truly don't understand about this episode is what did they gain from doing this? they took a huge risk with bucktommy and were rewarded with not only a large portion of the fandom getting interested and involved with the ship, but also the GA being more invested in this ship than any of buck's other relationships (from what I could tell). Tommy was the perfect character to fill the requirements of being easily integrateable to both the plot and the prexisting firefam dynamic, and what little characterization he had in season 2 was prime angsty backstory. Oliver, Lou, and even Kenny talked about how excited they were to be working with this storyline and these characters, and we all know how much Tim loves Lou and Tommy. The show was not only accepted for its representation, but lauded for how much care they put into this story and how much it meant to queer men, bisexuals, and just queer people in general. They took all this potential, and completely turned it on it's head, and for what? a gotcha moment?

In isolation, the writing could make sense. This would create tension in the relationship that they can then overcome. It would be a great way for tommy to learn how to love and be in a long term relationship (which it seems he hasn't been) and deconstruct the stereotype that bisexual people, and any newly awakened queer person doesn't know themselves well enough to know what love feels like. But then the interviews make it sound final? I haven't read the interviews because I just watched the episode a few hours ago and I've been busy since (plus I stopped reading interviews after all the interesting plot points from last season finale got dropped), but from what y'all are saying the interviews make it sound like this is the end. Not only that, but Oliver, the guy who said he didn't want to fall into stereotypes like "newly awakened man falls in love with his best friend" way back in April/May, is apparently saying offensive things about Buck needing to explore?

I just genuinely have no idea what there is to gain with this. They completely lucked themselves into an amazing love interest, and even if they found another love interest with the same benefits, hell even if they do get bucktommy back together (here's to hoping) no one is going to trust them again.

congratulations 911, you done fucked up

[stagefoureddiediaz]

Thought I’d show you how I’ve been going about my digital drawings - I just discovered that you can video procreate - so maybe I’ll do one of those in the future, but for the Ryan and Oliver digital drawings I did, I can show you my layers and how I worked because I was taking screenshots of my progress!!!

First up Oliver

So original photo

my line sketch - with colour coding as it was easier to do it this way!

Background done

colour blocking - ngl I actually really like it when it looked like this it just tickles the right part of my brain!

Now all the colours are sudged together and I've added in some of the texture

Finished piece!

Now onto Ryan!

Original Photo

Line drawing - he looks like a sailor because I went a bit ott with lining in the beard!

Background and clothes done!

Working on the skin - the neck was actually a real challenge!

Arm and ear finished

Face in progress - he looks so creepy without eyes and I spent soooo long on his lips - I think I erased them like 4 times - but it was worth it because I am soo happy with how they turned out!

one eye in progress

Then I was annoyed with eyes so I did some of his hair before going back to his second eye!

Final piece

and there you have it - me with zero procreate or digital drawing experience having a mess around with the brushes and seeing what I could actually do and I'm obsessed with how they both turned out!

I've been doing some tutorials on procreate - so hopefully I'll get better now I"m learning how to alter the brushes and things!

Hope you enjoyed this little look at how I created my two pieces - I'm going to look at getting prints done (when I have the actual time to do the research!) so if anyone would be interested in prints please let me know in the comments and I'll let you know once I have everything sorted out!

[arcadiabaytornado]

The symbolism in this scene is so.....

When Rachel starts talking about wanting to run away together, Chloe hesitates. Not necessarily because she doesn't want to go, but because she knows how possible it is that the conversation they're having is just pretend.

So she asks Rachel for validation. She asks her to stop talking about this wonderful life unless it's the one they're going to have together. And Rachel says that she's serious....before grabbing Chloe's hands and playfully twirling them around in the street.

Rachel's words directly contradict her actions, and we've all heard the phrase "actions speak louder than words," a hundred times. I don't think Rachel was being nearly as serious as Chloe in this scene....but like....I mean that in a specific way.

I don't think Rachel was lying about wanting to leave with Chloe that night. We learn in LIS 1 that leaving had been the girl's plan for awhile, and we also learn that Rachel was seeking her own avenue's of escape like asking the truck driver if he'd take her to LA. So when I say "Rachel wasn't being serious" I don't mean that Rachel was lying. What I mean is that I think Rachel was being as serious as a 5 year old who threatens to run away from home.

Like...yeah she MEANT it. She was being serious, but there was no way that they could have pulled it off that night. As Chloe points out, they didn't have a working car, money, or a well thought out plan. Even if the Sera stuff didn't happen, I doubt they would have actually been able to leave.

I really think that the running away conversation between Rachel and Chloe was something that was real for Chloe and something that was a moment of passion for Rachel. Not out of malice on Rachel's end. Just out of excitement and being caught up in the rush of the future.

However, It does make you wonder about how serious their follow up "we should leave conversations" were. Did Chloe and Rachel ever have any real conversations about leaving Arcadia Bay? Or were they all stories built passion and hope? We'll probably never really know the answer to that question, but it is something really interesting to think about.

[lizzybeeee]

DATV Spoilers - The Handling of Previous Story/Lore In DATV

Quick PSA: If you’ve read my post on the lore/story threads dropped – it’s not a list of what I expected or even wanted to see addressed/answered in DATV.

It’s pretty much a given that Kieran and the Architect were never going to come back in any meaningful way, I understand that. Questions about what happened to Anora, Anders, Cullen’s clinic etc...never expected to get an answer about them – at all. The line of succession in Ferelden and Orlais? I expected that sometime down the line it would have to be streamlined into one option for both nations, not a problem – there’s so many choices it’s impossible to account for, and I understand that.

A codex entry or letter would have been nice – but my expectations for DATV was solely for a good story that added to the lore and world of Thedas. Instead, it felt entirely reductive – glaringly so when you account for the ‘Executives’ twist. The slavery in Tevinter is non-existent, the Crows being an organization that indoctrinated children is never touched upon, any mystery of ancient Tevinter and the elves is answered (badly!), the Dalish have effectively disappeared and become the Veil Jumpers...it all feels so hollow, so shallow, that I ever cared about these things in the first place.

There’s no DLC planned – the team is working on Mass Effect 5 now. There’s no conclusion to the fate of the south of Thedas outside of two codex entries and some dialogue. They can patch the Executors cutscene out, maybe - perhaps they could even do the same to anything relating to the south of Thedas. Yes, these areas were not completely destroyed by the Blight – they can rebuild – but it comes across as being so meaningless that I ever cared for these places in the first place. To learn that after ten years of waiting all we cared for get devastated and left in limbo...it’s hard to put into words the bitterness I felt at that realization, and seeing that final cut-scene drove the nail into the coffin of how foolish I felt for even caring in the first place.

The issue is that the dev’s gave us only three choices, told us that as the story was contained to the north of Thedas – that our other choices weren’t relevant to the rest of the game – that their intent was to not effect anyone's head-canons...before doing so with ‘the blight has devastated most of everywhere you went previously’.

These were story/plot threads that were woven throughout the narrative of the first three games – the things that made me care and become invested in the world of Thedas to begin with. In a game that was set-up to be a direct sequel to Inquisition and Trespasser I hoped that, at least, what was brought up in Inquisition would be mentioned.

Perhaps my list is a little too detailed with plot threads and issues – if anything that can be attributed to the incredible world-building done in the first three games! I love those games, I love the world of Thedas...which is why this game utterly baffles me with its choices.

Dragon Age: The Veilguard is a good game but not a good Dragon Age game.

----------------------------------

Edit: DATV absolutely has a lot of problems outside of its handling of the lore and story of the previous games. I would not say its a good rpg in any sense, but as a weird 'action-adventure rpg lite' game I did have some fun moments and enjoy myself. Would I recommend it to anyone? Absolutely not.

I heard someone describe it as a 'junk food' game and I very much agree with that statement. I found enjoyment in it, but to do so I usually had to turn off my brain, which is not a compliment towards DATV.

The game released very well optimized (especially considering how most companies are content to release half-baked games and patch them later) and did create some really interesting visual set-pieces like the Battle of Weisshaupt. But those moments I enjoyed were few and far between, and far overwhelmed by the negatives of the game - such as story, lack of conversation/conflict/role-play options, bad character writing etc...

Calling the game 'good' is, perhaps, a stretch, and I totally get that. Calling it 'mediocre with some good parts' may be more accurate.

[lenaswritingandstuff]

Right again ▪ Tom Riddle x f!reader

Requested: No

Pairing: Tom Riddle x f!reader (+ SPOILER x f!reader)

Summary: Tom, who always thought relationships were meaningless, changed his mind when he met y/n. He plans on telling her how he feels, however, it doesn't go as planned, and he finds himself to be right - again.

Word count: 1.1K

Warnings: Fluff; angst; English is not my first language.

A/N: It wasn't supposed to be this long lmao. I will write the same plot with Mattheo, Draco, Lorenzo and Theo in the future - hopefully with a better title lol. PLEASE PLEASE DON'T LET THIS FLOP OR YOU WON'T SEE ME ON HERE AGAIN LOL. Comments and feedback are always appreciated. Sorry for the typos. Hope you enjoy it! xx

Tag list: @helendeath @im-jesus @wolfyychan @blocked-zombieartist

Tom Riddle was in his dorm, one of the only places in Hogwarts where he could be by himself, and where he could be doing the things he enjoyed the most - studying and reading, both in silence. But, despite being currently sitting on his desk - always perfectly arranged -, he was not currently reading a book or studying. Instead, he was doing something he never thought he would do and was feeling something he never thought he would feel: thinking about a girl, and being nervous about a girl. 

Contrary to Mattheo and his friends, Tom has never cared for relationships - he could barely bear being around Mattheo’s friends if serious, meaningful discussions or activities weren’t involved. Sure, he cared for Mattheo, more than he cared to admit, because they were of the same blood. And for Tom, blood was one of the things that mattered the most, alongside loyalty, knowledge and influence. 

And y/n. 

Tom had always thought Mattheo was the only person he could ever care for - after all, they needed to have some sort of loyalty towards each other if they wanted to have a chance to fight their father - but, just like he was surprised to learn he did not want to follow his father in his quest for tyranny, Tom was surprised to find himself caring for y/n. 

Just like he had never cared for friendship, Tom had never cared for love. He did not think it was a weakness as his father did, but he did think it was not as important as people made it out to be. And, also, why care for love when something terrible, something that would likely cost lives was being prepared? 

But then again, y/n challenged that idea. Despite being in the same house and the same year, it took Tom several years to properly notice her. He knew she was one of Mattheo’s close friends outside of his usual group, and that gave them occasions to spend time together. Strangely, Tom had first found her company more tolerable than the others - she seemed to understand his will for silence, deep conversations and his interests, seemed to have the same thirst for knowledge. She was kind as well, having what people called “a heart of gold”, always ready to help anybody in need. She was also warm and funny, two things she shared with Mattheo, and it usually didn’t take people enough to want to be her friend. Tom had considered y/n the closest thing he had to a friend, and he thought he would stay that way until, one day, he saw her and Mattheo sitting closer to each other than usual, and he felt something strange, something he didn’t expect to feel, and something he struggled to understand - jealousy. He didn’t think it was that at first, but it became obvious it indeed was jealousy when he found himself wishing that he was the one sitting next to her, and not Mattheo. 

From that moment, he kept thinking about y/n in ways he had never done before - how beautiful she was, how he loved her smile, how he wanted to hold her hand, to smell her addictive perfume, to be the person who mattered most to her… how he wanted to hold and kiss her. He had considered those thoughts as foolish at first and tried to not have them, but everytime he was with y/n, they came back running, and he sometimes had to restrain himself from sitting closer to her just to smell her perfume when they were in class, or to hold her hand when they were studying in the library. He didn’t have anybody to ask questions to - Mattheo would laugh at him - so, like he always did, Tom gave himself the answer: it was love. At first, he thought it was only temporary and it didn’t even cross his mind to tell her about it, but he was forced to admit that, instead of disappearing, those feelings became stronger with each day passing. The idea displeased him, and he tried to avoid y/n so these feelings would go away, but it was in vain, and only made him miss y/n - and made him love her more. But one day, as he was sitting on his desk busy thinking about her instead of studying, the idea of just telling her how he felt seemed right. Of course, the idea of rejection secretly terrified him, but he would accept simply being her friend. y/n deserved a loyal, sincere friend and that is what Tom was. All she had to do was give him a chance he could be the boyfriend - the word seemed so meaningless compared to what he felt - she deserved, a boyfriend who would be loyal, caring, sincere, and who would put her and her needs and safety first.  

Thus, he got her favorite flowers, and, having thought about what to say to her for hours, decided to go and ask her to have a moment of her time. And now the time had come. He grabbed the bouquet, and, trying to pull himself together, left his dorm. At that hour, y/n should be in the common room. With a bit of luck, she would be alone. Tom headed for the common room, which was nearly empty except for two first years laughing. He started looking for y/n, and his heart, which had started to beat faster with nervosity and hope, almost broke. 

y/n was indeed here, standing in a corner of the room - kissing Mattheo, who had a hand on her waist and the other in her hair. He broke the kiss, looked at her in a way Tom had never seen him and y/n had a smile before Mattheo pressed his lips on hers like he couldn’t help it. 

Tom took a step back, and the only thing that stopped him from dropping the bouquet was the noise he knew it would make. He turned around and quickly yet silently went back to his dorm - where the flowers finally met the ground. His back against the door, he almost wanted to laugh now. How could he have been so foolish? It should have been obvious to him from the start that y/n, warm and kind y/n, would prefere Mattheo, Mattheo would everybody loved or at least fond of, who had no problems making friends and be with people, Mattheo who had never been anything like their father. Mattheo, who people didn’t intimidate or rightfully found cold and strange. 

You’ve won, brother. 

As always, Tom Riddle found he had been right. Love was meaningless, and he should never have cared for it - should have never cared for her - in the first place. 

He was right, but for the first time in his life, he wished he wasn’t.

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[certifiedsexed]

hey there! i don’t mean this in bad faith at all, and i’m not trying to use a term that’s a fascist dogwhistle. i promise i’m just confused😭

so i’m not a guy, nor have i ever been perceived as one, but in one of your recent posts, you said that men can’t experience oppression solely based on the fact that they’re men. which was kind of confusing to me — i don’t think you’re wrong, i think it’s me but i don’t know how to get to how you see it like that.

because in my experience, men can experience oppression because they’re men, although i don’t know if i’m saying that right or conflating the meanings of certain terms. i’m probably wrong, and would just love some clarification?

for example, my brother and i were always held to different standards growing up — it was expected of me to always cry and be emotional, and i was a ‘stone cold bitch’ if that wasn’t the case, but if my brother wanted to show negative emotions like sadness he was treated like there was something wrong with him too. and i know it wasn’t my brother — i spend a lot of time working with my high school’s diversity team, and in a lot of the events we organise, guys talk about how they feel enormous pressure to be angry and never sad, and to have stereotypically masculine interests and never deviate from that norm.

i also know men who’ve struggled to get jobs such as teaching as those are viewed as ‘female’ jobs and it’s a common view that men who want those jobs are ‘only in it to be around kids’. i’ve heard many women around me perpetuate sentiments like that, so i know they’re not making it up, even if it isn’t equal to the systematic oppression women face in almost every aspect of their careers.

i’m not providing these examples to prove you wrong, since i do think you’re right. i’m hoping that a window into the way i’ve always thought might help you clarify this in a way that can help me to change my mind, since i just think i’m lacking some clarity or context here. i think i’m conflating abuse and stereotypes with oppression, but i’m really not sure. any advice would be really appreciated!

i’m so sorry if this comes off badly, i don’t mean it that way. i’m just trying to learn, i promise i’m not trying to promote the kind of hate and close mindedness you’ve been seeing in your inbox as of late.

Hi! As always, I do not mind answering genuine questions!

The things you're talking about growing up and seeing boys around you pressured to present only certain emotions, that's part of the patriarchy!

Certain emotions are supposed to be "feminine" and thus boys shouldn't show them, while girls are often always considered "emotional" in some fashion. That's not oppression based on those boys being men that you're talking about.

It's the backlash that the patriarchy, and by addition trans/misogyny has on men. It's boys being pressured not to show certain emotions because those emotions are "feminine" and they're supposed to associate feminimity with weakness and shit.

What you're talking about there is also trans/misogyny!

The idea that men who do things perceived as feminine are predators, the idea that specific jobs are "female" jobs [while even in those specific female jobs, men are generally paid better and find it easier to get into those jobs than women trying to get into traditionally "male" jobs"]

[Though obviously this varies based on race and whether they're trans, etc, etc.]

To be a little more clear, all of the things you're talking about don't primarily affect cis men/boys. They fuck up transfems, because it's trans/misogyny.

You're right! It's not systemic oppression.

You might wonder if it's social oppression, which is also a no. Social oppression would require a historical/systemic oppression behind it. But that doesn't exist in this case.

What it is is the common issue oppressors run into. While they benefit greatly from oppression, there is also backlash they face from their own systems of oppression.

Like white people who fall into suicide cults trying to work towards white supremacy, or TERFs who fall into groups where they slowly pick each other off as they discover they're not all exactly the same and wind up accusing each other of not being "real" women, systems of bigotry simply do not work out perfectly even for the oppressors.

They never do.

To create the patriarchy, you must establish trans/misogyny, you must establish intersexism and you must push people to conform to those ideals, even if they hurt your own.

It's similar to how white supremacy can harm white people, despite white people obviously not being oppressed racially. The backlash of oppression hits even the oppressors sometimes.

Suppression, as a term, would honestly work far better to describe what you're talking about.

So yes, it's stereotyping, yes it's abusive to tell your children not to show/feel their emotions but it's not oppression based on these guys in your life being men! It's part of how trans/misogyny, transphobia and intersexism are enforced.

I understand exactly where you're coming from! It doesn't sound bad and I genuinely don't mind answering questions! Especially since you've got some good ones!

I'm not sure if I rambled too much to explain this properly but I hope this helps! Let me know if you have any other questions and/or need me to clarify anything here. <33

[chaifootsteps]

wr.t. leaks (spoilers, duh!). Viv really chose the most boring and uninspired rendition of Alastor possible, and I could not be more disappointed. The signs were definitely there in Season 1, but if you wanted to you could easily dismiss as sloppy writing and one-time reactions to extraordinary events.

Like, I know no fan is *entitled* to have their particular interpretation of a character be validated, but... really? He's been reduced to the form of a one-dimensional, entitled manchild you might find as the villain of a self-insert fanfiction. Ohhhh nooo luci hurt his feefees and Rosie didn't actually make him an all powerful god, so time to storm out and whine about it. Why make a deal in the first place? Well, duh, he gleefully murdered so many people for trivial inconveniences he didn't wanna end up a tortured soul in Hell. He's basically Valentino, but, on the 'good team', and not a rapist (yet.), or Adam, or Vox, or Mammon, or Stella (frankly, you could even put Stolas in this bucket, if he weren't so unintentionally manipulative). A parody of a threatening character, incapable of creating conflict in any way that doesn't involve waving around a big stick and reminding everyone and the audience who the author blessed with magical power don't you forget it!

I've said this about pilot!fanon!Lucifer too, but, the fandom interpretations are just objectively more interesting. It's not like you can't write a story, or even a good story, about an entitled man drunk on power obsessed with his own image and getting what he thinks he's owed. But why would you 1) choose an enslaved racial minority character (!!!) to do this and 2) do it instead of multiple more compelling options given you already have multiple of this exact character on the cast?

Fanon!Alastor has emotions other than anger and insecure whining, he just can't express them because decades of crawling his way up two different hostile societies have beaten into him never expressing vulnerability. His very smile is symbol of societies like Hell ultimately victimize both the powerful abusers and their victims. Fanon!Alastor had a deal with ___ not because he's drunk on his own desire to murder but because he's vulnerable to the very same weakness and temptation he's learned to exploit in others. Fanon!Alastor has a natural dual conflict with Charlie: Alastor's connections and practical knowledge represent a way of making her dream a reality, at the cost of potentially corrupting her and having her get there in an incorrect/immoral way. And Charlie's dream presents Alastor with a pathway to more power and stability, but unbeknownst to him threatens to unwind his entire psyche in allowing himself to care about something. Fanon!Alastor, far from being image-obsessed with a need to be constantly in the limelight, is capable of being subtle, fading into the background when it benefits him.

I could go on, but I'm just tired. It hurts me that, come release, fan works which I enjoy making and reading will be expected to comply with this. I don't want to write Alastor this way. I don't want to be told I'm writing him 'wrong' for not doing it. I hope that in some way the earlier fanons are preserved and kept alive even as canon is polluted with all this slop.

It's sad and exhausting, for sure. It also doesn't help that the standom will attack you pretty viciously if you have the audacity to prefer the pilot to the actual series.

[sarahreesbrennan]

I think this is a lovely addition and I am so glad you feel that way. I hoped some people would! I knew not everybody would.

Under a cut to spare your dash, friends, some thoughts about villainy…

I don’t know that we differ in substance, though perhaps in style. I’d say that I agree with you… but it’s complicated.

Long Live Evil poses many questions about the nature of villainy, who is assigned villainy and who gets the sympathy and understanding. It’s about the experience of being assigned villainy, but also understanding the assignment.

Rae is absolutely going through something so awful. She is very understandably angry about it. Indeed, most of the main characters of Long Live Evil have been THROUGH it. That’s part of why they’re seen as villains - though this perception also exists on an axis of gender, class, race, sexuality, disability. These things affect how they’re perceived and how they’re treated and how they act, and there is almost no way to disentangle cause and effect.

‘Under the present brutal and primitive conditions on this planet, every person you meet should be regarded as one of the walking wounded. we have never seen a man or woman not slightly deranged by either anxiety or grief. we have never seen a totally sane human being.’ - Robert Anton Wilson

This world hurts people. And then it can be very harsh to hurt people. We’re blamed for our wounds.

I agree Rae is a more interesting protagonist to me. That’s why I picked her. But there are very, very popular protagonists in fiction I find absolutely dull as ditchwater. (Not saying I find Alice dull. I love Alice.) I’m still interested in why audiences like them, and as I would like to have many readers too, I think about why things are popular a lot. I learn rules… sometimes simply that I may break them.

You might think Rae’s plight would engender sympathy: and for some it does. For many it doesn’t. And I knew that would be the case. I’ve seen it happen in real life many times.

—Someone in my close circle of friends publicly made fun of me for my ‘terrible anger issues’ at a time I was literally too sick to walk and barely able to breathe. I know that person thinks she’s a good person who was good to me.

—this is a very common thing to happen to chronically ill people. Most of my mentees, especially my younger mentees, have been abandoned by many friends who would all confidently state that this is the patient’s fault for being a bad person.

—one woman I know had her ex accurately recount all her behaviour to his new girlfriend without adding the reason why she ceased intimacy, got irritable and didn’t help around the house.

Sick people are legitimately hard to be around sometimes, and they get blamed for being so because it’s easier to blame a person than a disease. Other people don’t want to be the villain, so they make you the villain.

And the making of a villain is an interesting thing to me.

Rae being sick and Rae being perceived as evil and embracing that perception are inextricable. As a society, we are not truly sympathetic to victims. I knew it would be this way, but I still found myself shocked by the way some readers responded to her - she’s so evil that bitch got Key killed, she’s not even evil enough so she’s something pathetic that can be dismissed, she’s cringe because she uses humour as a coping mechanism, everything is her fault, it’s disgusting how much this formerly emaciated by illness woman talks about her boobs. But then, did Katniss in the Hunger Games get as much sympathy for literally starving as Peeta did for having his feelings hurt? (Note: Peeta also had many legitimate problems and I really like both characters.) And then again, isn’t feeling any kind of way about a character a compliment?

This is one of the reasons Rae is a woman. Society is set up to dismiss women’s pain, and discourage empathy with them. (And yet at the same time, we can’t demand anybody likes any specific character, regardless of gender. We can only observe patterns.)

And listen, I am not equating being a gorgeous talented famous artist with being chronically ill, but there is a phenomenon my friend who’s a psychologist has observed, which is that audiences get tired of famous women after a certain number of years (seven at most) and begin to criticise their looks or say they’re annoying or problematic.

Anne Hathaway and Jennifer Lawrence, both relatively inoffensive women, just had to basically go away for a while, until audiences were ready to go ‘wait, is Anne Hathaway talented and beautiful?’ (Yes she has been the whole time.)

The only woman who I’ve seen not have to slink into oblivion for several years when the tide of public opinion turned is, actually, Taylor Swift - there’s a piece online called ‘Darling, Villain, Victor’ which covers this very well. I like Taylor’s songs because a lot of them are narratives. And it was interesting to me to see the way she engaged with the narrative - going ‘okay yes I eat men for breakfast but also they flee from me, I’m drowning in diamonds, I’m covered in snakes, I’m wearing the evil makeup but also the eyeliner is running down my face because I am HYSTERICAL’ - and people looked stupid for saying the thing she’d already said about herself, outsized. Someone who also does this is Dolly Parton. ‘Yes I am everything you say about me. Now what?’

I did find that inspiring. I did want to claim, for my vipers and myself, the beauty and freedom of that ‘Now what?’ Anger is how we survive. We will be blamed for anger and for survival. Okay. Now what?

Another inspiration is the Interview with the Vampire quote ‘evil is a point of view.’ Not one of the Time of Iron characters think of themselves as people who enjoy cruelty for cruelty’s sake. Sure, some glory in justified vengeance, but that’s okay, right…?

To be able to see yourself as the villain in someone else’s story is, in some ways, an act of radical empathy. It’s an early thing Key says that makes him fun to me - that he’s like oh yes, I am evil. He’s very clear-eyed about the fact that, say, many of the people at the glass blowers’ guild (relatively innocent pleasant individuals) were from their point of view flat out murdered by a homicidal maniac for no reason whatsoever. Still when he tells his story, Rae is sympathetic - and it is also the tale of an abused child and a pitilessly corrupt society.

Key isn’t human. And he’s not a sociopath. Key is a god. And actually, it’s considered morally acceptable for gods to raze cities or worlds for sinning, and even to kill their children. But if a god thought he was human and evil, then what? (Was Athena traumatised by her birth?)

Yet another inspiration for me is Congreve. ‘I love her with her faults. Nay, I love her for her faults.’ I did want the vipers to not just be misunderstood darlings but to commit crimes and have serious personality problems.

Does Rae deserve more sympathy than she gets? Sure. At the same time, I really wanted her to have hubris. I refer to Greek plays a lot - where the deus ex machina was invented, art designed for the audience to be rocked and purged by emotion - and it’s this classic failing, to be arrogant and think you can avoid destiny and get this outsize punishment for it. (And people haaate women to be arrogant, and I knew they would find that annoying about her.) Rae doesn’t want Key or Emer to be hurt, but they are both people of a lower class in her employ, whose lives she knows are only saved in the original narrative by another aristocratic woman - and she deliberately sets out to use them and that does put them in harm’s way. Emer is whipped. Key is whipped twice and killed. Rae is not corporally punished in the same way servants are. But then again, when death looms, what choice does she have? Is she the one ultimately responsible for hurting them? No. But does that mean she bears no responsibility at all, when she made a bargain with them? Do we get to hurt others just because we’re hurt? When is lashing out because of trauma okay, never or always? Well…

It’s tricky to discuss personality flaws, because some characters get more sympathy while others’ faults get magnified. I’ve seen Rae discussed as more privileged than Marius - Lord Marius Valerius, second-most powerful man in the kingdom, in possession of literal superpowers, and uh - very arrogant at times himself. (And I love Marius and he has many very legitimate problems!) They are both flawed people. Very few feel villainous to themselves. Very little of what the people we love do to others feels villainous to us. I will miss Octavian so much as an antagonist, because he was such a great one - never for a moment did he consider he was being anything but heroic, and I do think at bottom he was a very ordinary guy, with an absolutely normal capacity for empathy. Yet all that power and privilege and the empty assurance of others and fame ate him right up. He didn’t ever have to look through anyone else’s eyes, and see himself the villain.

But also, can you look at the abyss, and not be changed? Rae at the start of the story would not be capable of tossing a man off the battlements of a tower into a yawning ravine full of flame with a wild, mocking laugh. But she IS that person by the end - and some of us are with her! It’s a villain origin story, emphasis on origin.

So yes it’s wish fulfilment, and yes it’s about villainy, and about having different perceptions of villainy, and which sins and flaws are forgivable in which people... We all have different perceptions. I am posing the questions, but you may have a different answer than I - if either of us find any answers at all.

Still the questions are worth asking. I do believe that.

Truly, thank you for having sympathy with my viper queen.

I remember reading in one of your blog entries (years ago??) that in the new book you were writing, the main character's *sister* had cancer. Does that mean that Alice was originally the main character of Long Live Evil? Was she going to go into the book to save Rae, instead of Rae going in to save herself?

How extremely kind of you to remember!

No, that was actually a YA murder mystery that I wrote while ill, revised while recovering, and sent out into the world where it died on submission. (Which means we sent it out to about 12 editors and the editor either said no, or said yes and took it to acquisitions - a group of people at the publisher including sales and marketing - and acquisitions said no.)

One editor told me she really wanted and really tried to buy it. Another person who worked in publishing (and has since changed jobs, or I wouldn’t share this) said the response at her acquisitions was - if you like this writer, find the next her (implications about health and youth were made).

I was terrified my agent was going to ditch me too, but she said ‘We’ll sell that one day, for now let’s write the next thing.’

I remember another writer telling me she missed my work that wasn’t a tie-in, and I felt ashamed to tell her it wasn’t that I wasn’t writing other things - it was that I couldn’t publish them.

The tie-ins meanwhile were paying the bills (they still are tbh!) and I was and remain so grateful for them. But I also really loved writing them - especially my Sabrina tie-ins, you don’t forget the first, and it reminded me I want to write horror and poly one day - and how they got me to love and sympathise with so many fandoms.

I see the burnout of caregivers all around me, and I wanted to write the story of one. But maybe I also wanted to take a step back from cancer. I didn’t think I did, at the time. I had a whole lot of things I tried writing before Long Live Evil, and I think some of them were really good. One of my critique partners gave me a lipstick with the same name as someone in the murder mystery. There was a romance novel another critique partner said was her favourite thing I’d ever written. But none had someone with cancer at the heart of the story.

And even though Rae isn’t much like me, maybe I had to start there. You can’t make real magic using someone else’s liver. Maybe I had to wait to be brave enough to use my own liver.

I do get requests for advice on how to cope with rejection of your writing, and I always worried I didn’t have anything else to say, but I suppose my example says - if you can, (and I know it’s hard, you feel so terrible at writing and so useless) (and you love the work you’ve done so much and you don’t see a way forward to loving the next thing) (but still, if you possibly can) write the next thing.

Even if the first thing sells, you’ll want the next thing one day. Writing the next thing is more writing practise, so it’ll make you better. Write the next thing.

Ultimately I’m really glad Long Live Evil was my comeback book. I think it needed to be. It took the time it took.

But maybe it was a shade of that past book (where the heroine’s sister with cancer was six, so not much like any of the Time of Iron characters) that made me think of the YA version of this book, which I always had in my mind as something I was intentionally hewing away from - a more straightforward book, a book that might have sold better - in which shy reader Alice was the hero. She’s the one with the suggestive hero name - Alice through the looking glass - the heroine looks, and the more projectable-upon personality. She’d get called annoying less often (though still some, because she’s a girl), partly because she is (with love, Rae knows I’m right) a genuinely less annoying person. Much kinder, much sweeter, and much better at in-depth reading! Her sister being in trouble would’ve been a backstory, a catalyst point, and - you’re totally right - a great motivation for her to get the Flower. Saving a family member is a much more sympathetic and heroic motivation than saving yourself and one I do love (the Hunger Games, Labyrinth, Mahy’s the Changeover, and I write it a lot!). I think Snarky While Tragically Dying Rae would’ve been a pretty popular side character, too. I think it would’ve been a good book! Just not mine.

I love your question because I love thinking about POV, and all the decisions that are the building blocks of a story. To me, the Alice centric Time of Iron is a version that exists. As are several versions of the Lia centric Time of Iron. And versions centring other characters exist to me, too. (Eric, absolutely.)

Speaking of POV musing, I think Rahela the wicked stepsister featured more in the musical than the book. If the Time of Iron series ever became a TV show (and at this point in time I think I’d rather a movie because it wouldn’t… get cancelled…) and I got to write it (don’t know why I would…) I would start with the beginnings for three characters about to go on a journey to somewhere strange to them: Key in the Cauldron, Rae in the hospital, and Vasilisa in the icelands. There are so many possibilities! And I really wanted the sense that there were so many possibilities, too.

But I wanted the chronically ill one to be the centre of the story, and for it to be her villain origin story, and to ask a lot of questions (hence a lot of villains!) about who gets villainised and why. And I thought hers, to my mind, would be the most fun of all the possible stories.

So that’s the one I made. But Long Live Evil has a lot of origins. Thank you for remembering one of them! I don’t think I would’ve dared tell the story, if things hadn’t worked out for me (so far, fingers crossed).

And I also tell it to be clear my publisher was taking a RISK with me and Long Live Evil, and I really appreciate that, and I’m so happy it’s worked out for them (again so far, early days, fingers crossed, etc).

I hope some writers - whether in the process of submission, rejection or making the choices that are the building blocks of story - find this helpful, and some readers find it interesting.

Let this be one of the universes in which your story is told.

[gh0stly-pages]

Out of Our Minds (Part Four)

Ledger!Joker x Harley Quinn-esque f!reader (18+)

CW: swearing, mentions of blood

Words: 5.9k

Chapter Summary: More sessions pass and while you learn more about the Joker, the pull you feel towards him grows stronger. Yet this time, it feels like everything is starting to change...

Previous part: Part 3

Notes: We back, and things are really picking up this time. Hope this distracts everyone who might be going through a tough time right now. <3 Things really pick up in this one, and I'm already excited to drop the next part lol. Have fun with this one!

With every session your infatuation for the Joker only grows.

At first, you tell yourself it comes from your want (well, need) for him to progress, both for the sake of actually seeing him healed and for the sake of your survival. Then eventually, you think it comes from the fact that his mind truly is incomprehensible, and you want to know what’s going on inside of it, want to crack open his skull and see every gear. But now, you’re not even sure what it is exactly that keeps you feeling empty anytime you’re not in a session with the Joker. You don’t know what you’re chasing anymore. Everything is just one big mind fuck.

Slowly, the Joker becomes more and more human to you. Where others still see some kind of raving, homicidal madman, you see a person. 

As your sessions carry on, you tell him more things about you, and you learn more things about him. He likes junk food. He is skilled with almost every gun known to man. He owns over thirty blades. His sleep schedule is so all over the place that he doesn’t even know what day it is ever. He prefers nights over mornings. He drinks his coffee with lots of creamer. Every fact you’ve tucked away in your mind and you’re not sure for what.

You like it when he tells you something personal about himself, but he likes when you do it even more. “I was a gymnast for a long time,” you told him once, much to his surprise. Even you hadn’t expected to get into that part of your life. “I had to stop once I started going to school, just got too busy, but I was real good at it.”

“Gymnastics, huh?” He said, grinning, and you figured he must be imagining you, usually so rigid, flying through the air. It sounded like a joke. You were surprised he wasn’t laughing. “So, you’re pretty, ah, light on your feet?”

You smiled to yourself, thinking of all the memories. It had felt so nice to throw yourself into all that hard work. When you were flipping in the air, you felt free. “Guess you could say that. Certainly hasn’t come in handy though, in my line of work.”

“It may come in handy with mine. You’d probably make a good fighter, Doctor l/n.”

The thought of you fighting anyone made you laugh out loud. Have you thought about fighting people before? Of course. All your life people have hurt you and you wanted to hurt them back. But in the end, you had decided that wouldn’t do any good. Now, however, as you kept imagining it, the Joker appeared at your side, and you were winning this fight, him laughing maniacally beside you. It sent a sort of thrill through you. You didn’t like it. “Luckily, I’m not in your line of work.”

He had winked. “You can always change your mind.”

Alongside learning bits of things about him, he also taught you a few new skills, probably antsy to test them out considering he’s strapped to a bed most of the time. He (as best as he could still cuffed to a table) tried to teach you to pick a lock, how to get a perfect shot with a gun, how to rig up TNT. It was nothing you needed to know, nor anything you thought he should be thinking about, but you went along anyway because it was best he knew you were there to support his interests. As dark as they were…. You’d work on that. 

After your last session, you decided to bring something up to Mr. Dale.

“Doctor y/n, your progress has been very minimal,” he had commented as you walked up to him, before you could even open your mouth.

You frowned. “It’s the Joker, sir. It’s not going to move very fast-“

“Well, I am tired of waiting. The longer he sits in that cell I fear the worse he’ll get, and then what? He snaps and tries to kill us all?” He cleared his throat, adjusting his collar. You wanted to smack him. “Is there any way you could hurry up the process?”

Don’t rush me, was what you wanted to scream, but that wasn’t going to get you anywhere but kicked to the curb. “I do think I have an idea,” you said, trying to direct him to why you came up to him in the first place. “You need to let me bring in his makeup.”

Mr. Dale’s eyebrows shot up. And, of course, he began to laugh. If it weren’t for growing used to the Joker doing it so often, it would really piss you off. “You want to turn him back into a clown? Miss l/n, I fear that would only encourage him.”

“First off, it’s Doctor l/n,” you point out sternly. You’ve had enough of him treating you like less. If there’s another thing the Joker has taught you, it’s to not take shit from others. “And second, I want him to embrace himself. If he can be this clown persona he sees him as, we can take this persona and shape it so that it’s less… violent. Then, the makeup will no longer be something he associates with villainy. Please, Mr. Dale, I know what I’m talking about.”

You smiled wide as Mr. Dale’s face fell, absolutely shattered by your words. He wiped a few beads of sweat from his forehead. “Alright, Doctor l/n, I will allow it however if it ends badly-“

“It wont.” 

“You’re getting too comfortable. It’s his fault, I’m sure. I was right, he breaks people.”

You wish you could grab him by the collar and pull him close, but instead you settle on a deadly glare, looking him right in the eye. “I’m not broken. J isn’t broken.”

“Well, you’ve changed.”

You scoffed and turned away. “See you later, Mr. Dale.”

You have changed. You’re not sure if it’s for the better or not.

—————————

For your session, you walk in with a gentle smile, the tubes of makeup in your bag clinking together. You’re going to keep it a surprise, for later in the season. You’re not really sure why you feel giddy, but you do. It sort of outweighs your exhaustion, you’d run to the store late that night to pick up the same paints the Joker was said to have used. And when the guards finally let you in through the door, your smile grows even wider at the sight of the Joker, who is already smiling back at you. Not just because of the scars, it’s an actual smile. At first, his smiles had been menacing, but now you feel they’re actually kind of… nice. “Well, hello, doll face. So lovely to see you again.”

“Hiya, Mr. J,” you respond, taking your seat. “How are you doing today?”

“You know me, Doctor l/n, your presence puts me in a much better mood.” He props his chin up on his fist. “You look beautiful today.”

The past few sessions, Joker has certainly grown more flirty. It’s not something you’re a stranger to, the other patients have tried their hand at it, usually to try and get on your good side, but it’s different coming from Joker. You know he likes to rile you up, but you can’t help but feel the words are mostly genuine. “I look like this everyday,” you point out, not wanting to show him how his words affect you. 

“And you are, ah, beautiful everyday, doll.”

“Mr. J, refrain from flattery, please.”

He bows his head, pretending to be upset like a kicked puppy. “Oh, you’re no fun sometimes, Dr. l/n. You know I like to tease ya.”

“Some of the guards told me you’re allowed to roam around your cell now,” you say, trying to switch the subject before he can completely throw you off course. He’s good at that. “How are you liking that?”

“Hmmmm, well, I, ah, went from being stuck permanently standing in a small cell and now I can walk around the cell. Once you’ve walked it once you’ve, ah, seen it all.” He looks to one side of the room. “A wall there.” His head swerves to the other. “Oh, and one there too! What a surprise!” He chuckles to himself. Nothing makes Joker laugh more than his own nonsense. 

“So, not much better?”

Joker shakes his head. “Nah ah ah, not one bit. Can barely even make a ruckus too, the doors conceal all my banging and kicking and laughing. The guards can’t even get annoyed with me.”

You bite your cheek. “You really like being a nuisance, huh?”

“I do like to make people tick.” He wets his lips. “Especially pretty psychiatrists with sharp minds.”

Already, you can feel your cheeks warming. Embarrassment, that’s all it is. You, once again, try and take the conversation back to what you actually need to be in there for. “How about we get started, huh?”

Joker nods, smacking his lips together. Despite how much he licks them, they’re always chapped, the skin cracking. “What am I in for today? I feel we’ve talked about everything we possibly can.”

“And yet you’re no closer to getting out of here, are you?” You smirk at him as you bring out your clipboard. “I feel like I’ve been keeping it too light these past few sessions. I’ve learned a lot about you but you still won’t let me reach past the barrier.”

“What barrier?”

“The barrier between you and whoever you were before you became the Joker.”

His lips twist into a frown. Again, his past touches a nerve. “Dolly,” he warns, “I’ve told you, whatever came before doesn’t matter. I’ve always been the Joker. You won’t find anything past that.”

Once again, Joker is being a stubborn ass. As much as you enjoy talking with him, he also drives you nuts. “You’re saying your life started once Batman came to the scene?”

“He gave me purpose. What’s a joke without the punchline? Batman is the punchline.” 

“You were a child once, Joker.”

“Like most people, yes.”

“And how was your childhood?”

He ignores your question, grumbling as he stares at his cuffed wrists, rotating them as you sit there expectantly. You realize he’s not going to answer you and groan. So, he doesn’t want to dive into the past. You’re not going to force him. Prying was never the best way to go about things. You’d leave it alone again… for now. “Okay, sorry, Mr. J, we can move on. Is there anything that you’d like to talk about?”

Joker raises an eyebrow, not confused but suspicious. “You’re just gonna turn it into some kind of analysis moment, aren’t you?”

He knows me too well. “Well, that is my job. But no. Just, talk to me.” You hold your hands together, resting your chin on them. “About anything.”

“Hmmmm.” He looks like he’s having trouble thinking of something. “I’ve been thinking about Batman.”

“B-Man.” Of course. “What have you been thinking about him?”

“Those last moments I saw him, his expression. He looked so shattered.” You’re not really sure what he’s talking about, and you’re sure your face betrays this but he goes on anyway. “Oh, I’d live for a moment like that again. Seeing Batman react to my schemes, it’s so pleasing.”

“Do you consider your vendetta against Batman more for yourself or on behalf of the people of Gotham?”

He points at you. “There’s the analysis question. You can calm down there, Doc.” Joker coughs. “Behalf makes me sound like mister tall, dark, and dorky,” he snorts. “I’m trying to pull back everyone’s mask, but especially the Bat’s. I mean I, ah, already broke down Harvey Dent.”

That makes you go still. You hadn’t thought much on Harvey Dent, or how what Joker did may have affected him. You’re not sure if broken is the right word. Maybe scarred. Figures.  “The explosion. Right.”

“Poor, poor Harvey Dent. Gotham’s White Knight broke right in half. All because of me!”

You frown. “Harvey Dent died a noble man, Joker. Batman killed him all because Harvey was trying to do good.”

Joker’s eyebrows shoot up. “Harvey Dent is dead? And Batsy killed him?”

Oh, fuck. You clap a hand over your mouth, shaking your head. You weren’t supposed to say anything. It was an accident, you hadn’t meant to let it slip. “I… no, I mean, yes but-“ you stumble to try and cover it up but there’s no going back. Joker knows. And, honestly, who cares? He was going to figure it all out eventually. You take a deep breath. “Yes. Harvey Dent is dead. Batman killed him and five other people. And then Batman… he disappeared.”

Joker shoots up from his chair, and it takes you aback, causing you to squeal. You instinctively push your back into the chair while Joker looms over you. You’re not sure what he’s feeling, his mouth a thin line, his nostrils fuming. “Doll, why didn’t you tell me this earlier?” he hisses.

“I… my bosses didn’t want me to. They were scared of what you’d do. That this would inspire you…”

You wait for him to yell, to react violently, but instead he laughs. This time though, it isn’t a creepy giggle or a small chuckle, it’s a full body laugh, the kind that contorts his body. It sounds like it hurts. “Batsy killing people?” he chokes out. “I don’t believe it. No, I don’t believe it-tah one bit.” He clutches his stomach. “Batman is a very hard person to break, believe me.”

“You… you don’t think he killed all those people?”

“Ha! Absolutely not. He would’ve killed me too, he had me in the perfect place to do it, multiple times. No no no, something’s wrong about this…”

Slowly, you loosen your posture, moving back closer to the table. You’ve never even thought that any of that mess could have been something made up. “I’m confused,” you admit. 

“Doll, do you know how hard I tried to get Batman to kill me? He won’t do it! He just won’t. He’s got his, ah, one rule, his precious little moral code. He had me in the perfect position to kill me so many times yet he didn’t take any of those chances. Yet now he says he’s killed off five people including Gotham’s little savior? Puh-lease. There’s more to this story than they’re letting up.”

You hadn’t thought about it that way at all. Well, probably because you had no reason to. Joker knew more about Batman than any Gothamite did. You didn’t know much about him other than his attempts at stopping crime. Who were you to know Batman supposedly didn’t kill? You admit, it was strange that he had a streak of getting rid of criminals in ways that didn’t involve killing, then suddenly turned and killed a few people? “Are you sure you didn’t… break him?”

“No, if I did I’d know it. I’d feel it. The Bat is about as stubborn as me, doll. And now he’s in hiding?” He sniggers, a hand gently touching his lips. “Sounds like some kind of, ah, twisted joke. The Bat is hiding something.”

“I’m sure he’s hiding lots of things.”

“Whatever this is though I’m curious about it.”

Of course. You just ignited a flame in him. Idiot. “Curiosity killed the cat, you know.”

“Good thing they got nine lives.” 

The more you think about it, the more intrigued you are. Batman has always been shrouded in mystery for you. Was he good? Was he bad? And now it turns out his story is all over the place, that it doesn’t make sense? You kind of wanted to know now too. “Do you think it has to do with Harvey?”

“Only one way to, ah, find out.”

“Which is?”

He looks at you like the answer is obvious. “Drive the Bat out of hiding, of course.”

There it is. Mr. Dale was right. You shouldn’t have told him. He was going to find out eventually but now was not the time. Shit. “J, you can’t-“

He cuts you off. “You don’t like the Bat, do you?”

“Well, no, but-“

“Then don’t you wanna know what his little secret is? It must be somethin’ real special if he’s, ah, abandoned Gotham. Doesn’t sound very heroic to me. Sounds rather dull.” 

You know Joker’s dead set on getting back Batman for his own amusement, but what of you? What reason would you want to go find him for other than to expose him? He locked up Joker and left him here to rot. He killed five people plus Harvey Dent. He gets to hide away while people still root for him, safe from consequences. Everyone else suffers. Maybe Joker has a point. “I’m just a psychiatrist working Arkham asylum, Mr. J, trying to seek out the Batman is far above my pay grade,” you finally say, snorting, trying to get the idea out of your head. “B-Man can’t hide forever.”

“You’re right. Because we’ll drive him out.”

“We?”

“Well, you like to do good, don’t you? Little miss Mother Teresa, over here. You’ve already offered me friendship. So come on, help me, help Gotham, help us all!” He shows you his yellowing teeth. “Or, are you not as good as you think you are?” He reaches out with his hands suddenly, moving towards you. They only reach about halfway across the table, stopped by his cuffs, but you still jump. “What’s behind that mask, dear? Tell me what you really want. Let. It. Slip. Every dirty detail.” 

You’re trembling now. Like a rabbit caught in a trap. “I… I’m not sure I’m following.”

“You’re not as good as you think you are, dolly. I can see it! I, ah, can sense the darkness looking beneath your white coat.”

What the hell was Joker going on about? That you were as rotten as he was? You weren’t. You had dark thoughts sometimes, yes, but you weren’t crazy. You weren’t crazy. You weren’t. You weren’t bad you- “I don’t know what you want from me,” you whisper.

As your voice gets quieter, Joker gets louder. “Is that it? You feel all fine and dandy in this shitty life of yours, locked up with me in this madhouse? The people out there don’t care about you, they don’t care about any of us. But you’re fine with it, huh? Like a little pet pooch nipping at their heels. You’re just being optimistic!”

“Joker-“

“Tell me,” he demands, “what you really want! I want to break Batman! I want to strip all of Gotham down to its rotting core! And you want to keep yourself beneath their boots? Dolly, please, you’re much much more than that.”

Heart thumping, you can’t take his words anymore. You stand up abruptly, slamming your hands on the table. “Fine! You wanna know what I want? I want to hurt every single person around here who has done me wrong! Every single person who ignored me or disregarded me, everyday I wish I could just rip them apart. I- I hate everyone. I hate this stupid fucking place because everyone treats me like shit and at first I was only trying so hard at this because I can harldy survive and they told me that if your sanity improved then I’d get a raise!” What is with you today? You clap your hands over your mouth, hands shaking. Fuck, Joker was going to be pissed. Oh, goddammit. “J… I- I didn’t…” You struggle to find the words, trying to keep looking him in the eyes. They give nothing away. He is silent. “Mr. J-“

Then, out of nowhere, he cackles. He throws his head back, neck exposed, and laughs into the air, the howls of his laughter echoing throughout the room. Immediately, you’re caught off guard. You can’t tell if he’s laughing because it amuses him or because he’s angry. Even when he calms down enough to look at you and smile, you still can’t tell, and you continue to shake. “Doll,” he begins through his laughs, “that’s exactly what I’m looking for.” He doubles over with howling laughter again and you’re not sure if you should be scared or confused. “This whole time you just wanted a raise! So you took on little old me?”

There’s a lump in your throat. You swallow it down. “I didn’t have much of a choice but yes… it was that or be fired. But I did really want to help you, Mr. J. Are- are you mad?”

“Mad? No! I am, ah, lovin’ this side of you. It’s so cruel.”

That certainly took a weight off your shoulders, and you finally took a long breath in. Fucking hell, Joker was confusing. Guilt still gnawed at you. “You’re right, I’m just as selfish as you say people are,” you mumble.

“Exactly,” he hisses. “But it takes guts to admit it, especially to someone who, ah, doesn’t exactly handle things very nicely.”

“I’m so sorry, J.”

“Don’t apologize. It doesn’t mean anything to me.”

“Then I don’t know what to do now. You’re set on getting Batman out of hiding, I’m going fucking crazy right now, everything feels so weird.”

Joker seems to find the utmost pleasure in your unraveling. “Doll, what’s in the bag?”

The question takes you off guard. “What?”

“When you came in, you were all giddy, and I could hear something moving in your bag I haven’t heard before. What is it?”

Ever so perceptive. “Oh… uh,” you fumble through your bag, bringing out the three tins of paint. “Your paint. They… they let me bring it for you.”

Joker’s smile falters a bit, yet he doesn’t look upset, just surprised. “My paint… You really brought it for me?”

You nod. “Y-yes.”

His voice dips low. “Put it on me then.”

Now that takes you by surprise. More than anything else that’s happened to you today.

The Joker is so guarded off, yet he’s inviting you in, allowing you to not just touch his face but apply his makeup. It feels sacred. This is a part of him that makes him not just recognizable, but feared. And here you are, being asked to put it on him. It’s so wrong it feels… right? It scares you.

“Are you sure you-?”

“Put it on me, y/n.”

If this is a test, you’re not exactly sure how to pass. But his look is unnerving and so you stand up, pulling yourself onto the table between you, a lump in your throat. You feel frazzled as you move close to him, bending your legs to the side of you as you settle on your thighs. This is the closest you’ve ever been to him. You can see every line of his scars, every wrinkle and crease on his face. “Okay,” you say, more to yourself than to him. You grab the white paint to the side of you, screwing off the lid and taking a large glob of the substance.

You loom close to him, your fingers wet with white paint, waiting for a sign that he’s okay with this. You don’t dare breathe, scared that any movement, any sound, will shut him down. But to your surprise, he doesn’t back away, he nods. Keep going. Your fingers finally land on his cheek, right beneath his eye, and you gasp at how warm his skin is. Joker shows nothing on his face to reveal how he feels except for the way his eye twitches slightly at your touch, his cheek twitching along with it. As you start to paint around his face, everywhere but his scars and lips, you wonder if his reaction stems from a disdain of being touched or from not having been touched so gently in so long. 

“Mr. J,” you whisper, and you can feel your hands start to shake again but you quickly steady them. Once his face is fully white, you dig into the black paint. He notices this and closes his eyes, letting you rub the dark paint in circles until each of his eyes look like they’ve settled into two, painted voids. When he opens his eyes again, they’re still trained right on you. “What am I doing?” you ask to no one in particular.

Joker doesn’t answer your question. He doesn’t have one for you anyways other than the obvious. “The red now, doll.”

“Y-yes, of course.” Quickly, you grab the red paint and stick your fingers in, moving them towards Joker’s lips but stopping. Putting the makeup on his face had been intimate enough but… his scars? That was a whole different kind of territory. “J…”

“Do it,” he murmurs, and it’s so quick you still wait, your hand just in front of his mouth shaking. This had to be a test. Some kind of sick joke. “Doll, can you, ah, hear me? I said ‘do it’.” 

You want to protest, but for what? He made it clear what he wants. So, you begin to smear the red across his lips, moving first to the scar on his right, your entire body shuddering as your fingers touch the sunken in skin where the carvings were made, the mangled flesh around it, every bump and curve. You don’t understand why anyone would ever find these scars ugly. To you, the way they healed, the way they are a part of him, there’s something hauntingly beautiful about it.

Godammit, J is beautiful.

As you continue to smear the red paint, he looms closer. “Do you wanna know,” he whispers, “how I got these scars?”

“I…” Of course you do. Everyday since you’ve met him, you go home and you can’t help but see his smile. See those scars. And you can’t help but wonder how they got there. You imagine a blade ripping across his mouth, drawing so much blood it drips down his chin. You’ve imagined him screaming in pain. You’ve imagined him uttering not a peep as the blade pierces his skin. So many possibilities. This was the barrier you’d been hoping to jump. “Yes,” you finally rasp.

“I can, ah, never get the story straight. It’s like a black hole, doll. A black hole in my mind. There’s so many ways I could’ve gottem, so many ways I think I gottem. What’s real? What’s not? Who the fuck cares?” Even with a furious growl in his voice, he laughs. “I can’t remember what it really was that did it. There was a horrible father. A wife who I tried so hard for. There was war, and violence, the mob, and so much pain. I’ve seen a lot. Maybe they’re all real memories, maybe they’re not, doesn’t matter! I hated the scars at first, I really did, but now? I embrace them because there is just so much to smile for. I’ve got so much left to do in this city. So much fun left to have. But there’s something I’ve been missing.”

You rub your thumb over his right scar, drawing in a shaky breath. “What is that?”

“I have all these plans, all these ideas and feelings over what I do and yet I’ve never thought anyone good enough to share them with. People, ah, will only be good to you for a while before runnin’ off with your secrets, it’s just human nature. I didn’t feel a kinship to anyone until you came along, Doctor l/n.” When he smiles, you feel the movement beneath your finger. “Look at you. So lonely. Letting everyone spit on you. Yet here you are, being so kind to me. I’m sure you imagined I could’ve killed you for keeping me along for a stupid paycheck, but you admitted it to me anyways. You are pulling back your own mask, right in front of me. You know you couldn’t fix me, right?”

You can feel tears welling in your eyes at his words, guilt gnawing at you. “I wanted to try at first. But now… I- I don’t want to fix you. I like what you are.”

“That,” he growls, “is exactly why I’m so drawn to you. I know, doll, that you crave something more than what you have now, this world kicking you down over and over and over again. I know the feeling. You’ve got nothing and everything to lose. Yet you manage to smile amidst the darkness. You smile in the face of pure chaos.”

“I don’t understand,” you mumble. 

“I want what’s best for both of us, doll face. You were right. I do need someone by my side. As I was saying, what I’ve been missing this whole time, was you.”

Your eyes grow wide. “Me?”

He nods. “You stuck with me this long. Even for a paycheck, that’s somethin’ no one else would do. And yet the big Arkham bosses are out there now, laughing at the both of us. Ain’t that unfair?”

“Yes.”

“Doll, stick by my side, and we’ll let them all know just how corrupt they truly are.”

Your arms break out in goosebumps. Every word the Joker utters is dripping with venom, an edge to each syllable. You’ve tried to ignore him, the way he crawls into your rib cage, into your mind, finding your weaknesses, your dark desires and whims you push away. Yet here he is, getting you to reveal them, and trying to get you to go along with him. It’s working. “Let’s show them, then.”

You look down at your fingers, covered in red, and it almost looks like blood. 

He grins. “That’s the spirit.” With a curl of his finger, he gestures for you to move closer. You do, and he cranes his neck towards your ear. “If you really wanna help me,” he whispers, his breath hot in your ear, “then tomorrow is the day you get me out of this place.” Every t is pronounced as sharp as a blade. “You’re smart, doll, I know you can think of something.”

Breaking Joker. Out of Arkham. A few weeks ago, you might have grabbed your remote and hit the red button but now? You think you might just take him up on that. You move back to look him in the eye. “You won’t help me think of something?”

“I’m sure you’ve got something in that, ah, pretty mind of yours.”

You huff. “J, I’m serious. This is Arkham. It’s constantly guarded and protected. And I’m just me.”

“Exactly.”

“What?”

“You’re you, sweets. No one’s gonna suspect you.”

Oh fuck. He’s right. No one gave a shit about you. You’d fly right under the radar. That part was easy. But everything else? This wasn’t exactly your forte. You didn’t know what to do. “I’ll try my best,” was all you could offer.

He reaches his hand out, and at first you think he’s trying to grab you, but instead he goes after one of the paint tins. The red paint. Agonizingly slow, he removes the cap, getting his fingers wet with paint. “Doll, you and I are gonna make something special. I always knew you had it in ya. C’mere.” You tilt your face towards him, and Joker smears the red across your lips, a mirror of his own striking smile. “Don’t forget to smile,” he says.

“Never.”

_______________

Later in the night, Joker stares at himself in the reflection of the small, grimy window of his cell door. His face is painted exactly the way he likes it, maybe just a bit different, but he could care less. This, this person he’s looking at, is the person he is, the person you have given back to him. He touches his face and he can still feel your phantom touch, the way you had run your finger over his face, his eyelids, his scars. You hadn’t backed off, or avoided them, you had touched them so softly. Soft. You were soft. 

You made Joker feel soft and he hated it.

Yet, he couldn’t fathom getting rid of you. It would be easy, definitely. If things actually went well tomorrow and you managed to get him out of Arkham, he could easily kill you off. No one would look for you. And even if they did, helping him break out of Arkham would mark you a criminal, and Gotham would curse your name forever. But Joker doesn’t want to do that. Even the thought of your death makes him angry. He is used to wanting to hurt people, yet when he comes across you now, he feels… protective. He knows how the world hates him, yet somehow you showed him sympathy. No, even better, you were showing him loyalty by offering to help break him out. And if you really went and did it? God, he almost breaks into chills.

When he looks at you, he notices his body reacting strangely. His heart speeds up, his hands feel sweatier, his mind feels like it’s going to split right in half. This isn’t the kind of insanity Joker usually basks in, this is something worse. He doesn’t want to put a name to it. You were so good, and yet when you let your mask slip, Joker couldn’t help but feel pulled in even more. What lies beneath you is dark and spiteful, and Joker wants to see all of it.

You won’t let him down tomorrow, Joker is sure of it. 

A voice on the intercom comes through the crack under the door, crackling through the speakers placed along the hall outside. “Shutting lights off. Everybody get to bed.”

Joker grunts, moving to plant himself down on his metal “bed”. He’s not going to sleep though, how could he? Chaos was coming, and you were bringing it straight towards him.

________________________________________________

When you get home, you stumble into the bathroom, quickly turning on the sink faucet and drenching your face in water. You let the ice cold water drip down your face, crying out as you try and get a grip on things. Your fingers are still covered in Joker’s face paint, the water hardly washing any of it off. It’s like he’s on you forever.

Why, for fucks sake, do you almost want it to never wash off?

You look at yourself in the mirror now, the makeup that Joker spread smeared down your chin. This is you now. Mr. Dale was right, you have changed. But fuck it, it was for the best. This change, this thing radiating beneath your skin, it’s something dangerous yet powerful. It moves you. You’re not crazy, you’re insane. 

You can’t tell what this feeling is towards Joker. It almost feels like… love.

Love for the Joker.

The Joker. The Joker. The Joker-

He was right. He was always right. People were going to walk over you all your life. You were tired of it. Nothing was going to change if you didn’t change it first. You couldn’t stand around and watch these people, with their pockets fat and their reputations swell, walk around with such pride when you knew they were all phonies. This city, your city, you’re going to unveil it. No longer will it crush you. You’re going to crush it. 

You were going to be Joker’s partner in crime. And you loved it.

Taglist: @lightsabergirl / @knoepfl / @jeffswh0re / @itsmrshamilton / @heath-ledger-jokers-wife / @lolwey / @ilovetoomanymen / @amazingzou/ @ronniesweetkisser / @emberhatesthemoon

lmk if you'd like to be added to the taglist!

[nadas-dirthalen]

A Veilguard Achievement Icon Opened My Eyes on 15 Years of Lore... but Was I Right?

PART TWO: What Veilguard Did Narratively, and What That Tells Us Going Forward

[ 1 ]

Hello again, friends and travellers. Now that I've beaten Dragon Age: the Veilguard, I wanted to go through all those 30,000 words of predictions that I wrote in the ~11 days leading up to its release. I'd seen an achievement icon that pieced together a lot of Dragon Age lore for me.

But, I hadn't played Veilguard. All I had was the footage from September 19, the achievement list, and anything else BioWare had released.

So... was I right? And if so, how much was I right about?

This is your warning:This post will contain spoilers for the entirety of Dragon Age: the Veilguard, and all Dragon Age content made before Veilguard.

(my davrinmance is going great as i try and collect every codex, thanks for asking!)

Today's Discussion: to Understand Dragon Age, We Must Understand Its Writing.

Before I can go any further on why I think the way that I think, or why I imagine the story might take us in certain directions, it's essential that you all understand where I'm coming from. Veilguard, like any game, is a piece of art. Its bones are built with similar narrative structures to novels (though not identical, and that's important!). To make sense of what's to come, we must examine Veilguard's bones the same way.

I've seen a lot of people wondering why, for instance, the Inquisitor is not Veilguard's protagonist. I've seen people lamenting the fact that there were not on-screen clarifications of popular lore theories. Before this series goes any further, I need to say my piece about why I believe that it was essential that Veilguard was written as it was, and why its writing does in fact help us better predict Dragon Age's path forward moreso than even Inquisition.

That said, today I hope to cover:

What Veilguard Demanded of BioWare's Writing Team, and Why

The Protagonist: Why Rook's Perspective Matters

The 3 Act Structure: Our Lens

The Companions: Paths to Our Answers — and Future Games

What Veilguard Demanded of BioWare's Writing Team, and Why

Let's get this out of the way right away: it has been 10 years since Inquisition. And, like it or not, that means one gigantic thing for BioWare: if they wanted to have any hope of making more Dragon Age, they needed to bring in new players and resuscitate the interest of many old players who did not stay in the fandom the whole time. They didn't—and couldn't—write Veilguard specifically for you or I, people of Tumblr. If they did, it would've pleased us... and then cost them so much money that we'd never get any more Dragon Age.

That doesn't just mean modernizing the game's aesthetics, or providing a glossary in its Codex. It means they would have to balance all of the following (just at a glance):

Managing the learning curve in general. Not even I looked in the glossary as I played. Me, supreme enjoyer of all codices ever. It's just not something most players are ever going to do, as much as it the lore is such a fundamental part of the game in general. That means simplifying terms where possible — elven gods in place of Evanuris, for example — but also trimming down what would have to necessarily reference past games. Only a tiny fraction of the fanbase has played Inquisition in the last 3 years, nevermind this year.

Recontextualizing the lore. That does not mean rebooting it, it means situating all we have learned so far in a framework that fits all we have learned so far. Much of what we learned about the Evanuris seemed, for so long, to be totally separate for the things we knew about the blight and Blights. Veilguard needed to show us how those things relate, and to do so in a fresh context that would allow everyone to develop new understanding.

Pushing us one step past Inquisition's knowledge. Veilguard, after reframing the lore, had to leave us a path for new lore, and increased understanding. I think the devs put it really well when they say that their aim is to give us some answers, but leave us with even more questions. More on that later, and in future posts.

Updating Thedas' ethos. Let's face it. It has been 15 years since Origins came out. The things that were more typical of scifi/fantasy (SFF) then are just not the same now, and would not be perceived by 2024 players in the same way as by those who started Origins in 2009. The world has changed; our cultural understandings are broadening and need to continue broadening. BioWare is doing a good thing by incorporating things like nonbinary identities into Veilguard, and it is good that Veilguard is progressing the world of gaming in that way, especially considering its success. (This is also, I wager, why we choose an Archon out of two choices who want the same thing, rather than leaving that open to a more "evil" option).

Dislodge older fans from their Solas headcanons to get everyone old and new to the same confusion and potential distrust. Hear me out. Everyone who's stayed since Inquisition has beliefs about Solas. Even me, who got here in March of this year, whose fic reads overly soft now because I just didn't know Solas' grander plan until 48 hours before Veilguard came out. Everyone has had headcanons for so long that everyone has had time for their opinions of Solas to cement themselves. In order for Veilguard to work as a story, they had to debunk what everyone thought they knew: both lovers and haters of the famously controversial egg. By breaking down our existing beliefs, the devs open up essential curiosity from the players as to who—and what—Solas really is, which propels us through the narrative and has us absorbing information.

And this curiosity? It is why Veilguard could not have the Inquisitor as its protagonist. To keep us curious as players (and "readers" of the lore), BioWare needed a new protagonist.

Specifically, they needed Rook.

The Protagonist: Why Rook's Perspective Matters

Here's the thing. The protagonist is not just the face of the game. They are our vehicle to understanding that game. The plot follows their wants and responds to their understanding. What they don't know, what they want to know, is what makes up our every objective. Their emotional journey through the game is our emotional journey through the game. Following it, going after the things that matter to our protagonist, is how the entire game (including its lore) takes shape in our minds.

That's why it's essential that they don't know everything—especially after a ten year interim between games.

Veilguard's plot and twists proved that the Inquisitor did not know everything. They, in fact, knew less than half of everything. If we had kept them as the protagonist, all of our knowledge and curiosity would be shaped by the Inquisitor's understanding: a wrong understanding. We could constantly be fighting with what we think the Inquisitor should know, what should be true because we had seen it through the Inquisitor. We would be set up to be at odds with the very events of the game. Rook is a blank slate, barring a few key tonal indicators, and that blank slate allows for us to fit all previous lore into its new, recontextualized shape that I mentioned above. (Again, note that I am not saying rebooted.)

That, and Rook has multiple motivations. The Inquisitor is focused largely on stopping or saving Solas; Rook is charged with figuring everything out as it is happening to them in real time with almost no context or experience, AND stopping or saving Solas. The Inquisitor has existing allies and resources; Rook does not. Rook must build their own campaign from the ground up, and that means the player is building their own experience from the ground up. Their allies, abilities, and home base, yes, but also their knowledge. Discovering things at the same pace as Rook, with a similarly urgent drive to do so, keeps the game from infodumping at us. It keeps the reveals evenly spaced, but also immediately interesting to the player.

And best of all? Rook allows the writers to do what they want to Solas without breaking his dynamic with the endless sea of Inquisitors (or, at least, with way less risk of doing so). We needed to have our theories about him broken down and rebuilt as players; to do that to the Inquisitor would damage an entire sea of headcanons. We'd never get the Solavellan ending we wanted, for instance, if Solas had played mind games with Lavellan for that many months. And if Solas didn't do those things, if he'd been wholly defanged, he would have lost his appeal and importance in the narrative. He wouldn't be the Dread Wolf in the ways that matter to Veilguard.

It's important, then, that Rook has just the slightest bit of backstory. They care about their allies. They are not a potential political force like the Inquisitor. They have many options to be impulsive. Every single Rook has rebelled against authority. Every single one has a stubborn streak. BioWare put all those qualities there on purpose, because Solas uses every single one, in every single Rook, as a tool. That was all essential for his character development in this game! At the same time, they couldn't do that with the Inquisitor as protagonist, because after 10 years, no two Inquisitors are similar enough to predict/script their actions and responses in that way.

Those twists are perhaps the most important tool for forward momentum in the game. The more they keep us guessing, the more we'll play and seek new information, the more we'll learn. Which brings me to...

The 3 Act Structure: Our Lens

Like I said: BioWare couldn't just infodump at us in Veilguard. It wouldn't be interesting to even half the fans that stayed, these ten years. To keep us engaged as players, they had to string the lore through a series of engaging events. Keep the momentum up, so we would not be lazily looking over codices, but chasing new knowledge and understanding. It all had to be emotionally relevant and resonant to keep us caring, because very few people play games they don't care about.

Veilguard, like a lot of written art, follows the three act structure. Though there are a lot of variants on the more precise beats, they all broadly follow the same-ish path.

Hook: The opening image. In Disney movies, this is the song where the character sings about all the things they want in their journey, and what they truly need is only implied. It gives an opening note for the theme by showing what the character lacks, and what they might need to gain before defeating the final villain. In Veilguard, this is our prologue, centered entirely around Varric: the big red herring where we see that Rook is out of their depth, opting to push over a support beam rather than take on the Dread Wolf. Off-screen, it is also the background information about Rook, showing us who they are and what they want before we play.

Inciting Incident: The event that kicks off the main plot. In DA:tV, there's a big collection of these (because every companion needs one; we'll get to that). The first big one is, of course, the failed ritual. The death Rook doesn't see. The Evanuris are freed, but Rook has only half the information.

First Plot Point: "Plot Point" means "big/defining decision" in writer-speak. This is the moment the protagonist decides to go forth on their adventure. In video games, this is more or less determined for you, but you have the option to flavour this moment in Veilguard. You can choose how to tell Solas that you'll do what he wants: either by appeasing him or angering him. You do the same for Neve and Harding afterward, and then again in Arlathan and D'Meta's Crossing. You state that you're doing this, no matter what it takes.

First Pinch Point / "The Setback": "Pinch" means "twist" in writer-speak. It's the first time the narrative is shaken up, and is also usually the first time we see the true scope of the villain. In Veilguard, the first big twist has been called "the Setback" by some of the devs (notably, I heard it at a panel in September). For Veilguard, this is Weisshaupt. We see the true scope of Ghilan'nain's horrors, but we also see the first BIG hints (outside of Varric) that Solas is manipulating us—because he really doesn't seem to hate the Wardens as much as Inquisition enjoyers like myself expected. This event concludes act 1.

"New World" / "Fun and Games": The devs have remarked that they wanted to see the tone of their setback (Weisshaupt) threaded through the rest of the game, and we do: through Davrin and Lucanis' banter, through the reflections on the consequences of Weisshaupt, through every character struggling with their confidence and identity after that point, through the blight getting worse and worse and worse. That's what the New World is: the characters getting used to new circumstances after that first big twist. The Fun and Games are the slow and steady recovery from the twist, warming and solidifying formerly tenuous relationships. This is where we do a lot of companion and faction quests.

Midpoint: In a narrative that ends in a victory (so most games ever), the midpoint is a false victory. We think we've nailed something, only for something else to happen that begins to seed doubt in the protagonist's capability and/or ability to solve the plot. For Veilguard, this is the blighted dragon fight: we think we've got Ghilan'nain, but then Elgar'nan shows up and demonstrates that Rook is in so, so over their head.

Second Pinch Point: The second twist. The villain's identity is crystal-clear, and by now we've definitely interacted with the villain more directly. This is Arlathan, Elgar'nan's mind-trap—and Solas' "rescue" of Rook, showing his duplicity in full. Elgar'nan notably says a line about not falling for Fen'Harel's tricks again, and it foreshadows what we will see of Solas.

Disaster / Crisis: This is the event that triggers the protagonist's downward spiral. Not a twist (necessarily), but a catastrophe. In Veilguard's case, it's both: the Ghilan'nain fight leaves one companion dead-dead and another presumed dead. Then, the twist: Solas using Rook's sharply felt regret to pull his gambit and swap places with them. A series of events that literally had me gasping so frequently I got dizzy. Thanks, BioWare :) Many people say that this event, or something between this event and the "All is Lost" beat, conclude act 2. For games, the pacing is sometimes different, as is the cutoff mark, because otherwise the third act has the potential to be very short.

"All is Lost" / The Dark Night of the Soul: It's exactly as the name suggests: all has been lost. The protagonist doubts themself completely. It seems like nothing more can go wrong, and like nothing might ever go right again. The protagonist is at a loss for how to move forward. In Veilguard? Varric is dead. Davrin/Harding is dead. Bellara/Neve is dead. Rook is literally trapped not only in their regret, but in a reflection of Solas' regret. And to get out, they'll need...

"The Epiphany" / Second Plot Point: "Plot point" means "big/defining decision" in writer-speak, as stated above. Only this one contains more layers than the first. This is where the thematic statement of the piece comes out: the lesson that the protagonist must learn is stated, clearly, for all of us to see. It is the thing that picks them up off the ground, giving them strength to face the climax and the danger it promises. In Veilguard, this is Varric saying to Rook, "Have you learned nothing here?" and reminding both Rook and player that he chose this; Rook's companions chose this; we cannot blame ourselves for the actions of others. We cannot carry grief for other people, or we'll drown in it. Sound like any other character we know?

Climax: The big fight! But also, the big moment where the theme is shown to be the narrative key. In every ending of Veilguard, Rook being Solas' perfect mirror is the key to winning the day against the Dread Wolf. It just depends on what facet of Solas Rook chooses to mirror: the trickster, the nasty combatant, or the person who was haunted by their own failings and lost companions.

Resolution: Narrative threads are tied up, or a promise is made to tie up those loose ends in future installations. Veilguard's credits do both of those things. :)

Why am I telling you all of this? Because the lore must follow that skeleton. Every reveal we get must fit into both the timing and the feeling of those events. It would not fit to suddenly drop everything about the Titans right after Rook gets to the Lighthouse, which is why those enemies you need to kill to get the last memories are level 30-40. It would not fit to uncover everything about the blight's origin before Weisshaupt. If they forced us into that as players, all the casual fans and new players would duck out, feeling overwhelmed.

Even for us older fans, narrative structure shapes significance. You can tell a lot about a codex's overall importance and tone just by understanding where you find it, and when. That's why the Trespasser codices carry so much weight, even the ones about the Evanuris' actions that we don't see on screen at all: they are at the bitter end, and so they carry all the bitterness, longing, and mourning of that ending. Without the context of Trespasser, they mean less.

This is also why Veilguard paces its companion quests this way, not allowing you to complete them until later in the game. Every companion has something to teach us, and BioWare wanted to give each companion's narrative the weight it deserved.

The Companions: Paths to Our Answers — and Future Games

Anyone who's played Inquisition knows that companion quests shape entire facets of the lore in individual games, as well as set us up for the trajectory of the next games. Just look at Solas and Cole: together, they shaped our whole understanding of spirits in Veilguard. They set us up to ask all the right questions about not only spirits being bound as demons (Solas' quest), but about spirits being able to manifest in physical shape (Cole's quest). Together, their narrative conclusions foreshadowed much of the Evanuris' reveals in Veilguard: that they were spirits who could manifest into corporeal shape, and that they had the ability to ask others to manifest—and then bind them.

Again, these quests are paced throughout Inquisition's main plot. You cannot do their before Skyhold, and you cannot do them after the cutoff of (I believe) the Temple of Mythal. Inquisition forces you to see those quests' endings in the exact right spot: sometime around the midpoint (Adamant/WEWH), but before the disaster/dark night (the Temple of Mythal). They do that so you will feel that those things are significant.

Veilguard does the same thing. Every companion has a facet of the lore attached to it, but you cannot follow those threads to their conclusions at the beginning of the game. The game won't let you, because the moments need to be spaced out properly and carry the necessary emotional weight. Not all of their quests promise speculative material for future games in the same way, because some explain the context of the current game (Varric, in DAI, accomplished both with the red lyrium content, for instance; Leliana, meanwhile, dealt with the theme of faith in DAI and did not promise future speculation).

These concepts will all get far more attention in due time, but in short, here's what I think is associated with each companion:

Harding: Titans! But also, angry titans, and the difference between "angry titan" and "source of blight." In the same vein, what the dwarves should do going forward, and where they should place the titans in their culture.

Neve: The soul of Veilguard; her narrative is very current to DA:tV, in my early understanding. But she brings forth a lot of nuance to the themes of regret, and what that regret looks like on a smaller scale (a city, rather than a world). She does a lot of work in showing us that regret is regret, no matter the scale, and that the work we do to do better matters, no matter the scale. Additionally, her personal quest foreshadows Solas' use of blood magic against us being more than we thought by showing off Aelia's puppets, suggesting to us (tonally) that Rook may be Solas' puppet.

Bellara: The Forgotten Ones!! Anaris! Also, the place of ancient elvhenan in the future of Thedas, and what the elves should do/feel going forward.

Lucanis: I think they were going for some Forgotten One/Forbidden One hints, judging by some notes from the Ossuary and some banter between Lucanis and the others. This needs more dissection. Lucanis sort of does both what Bellara and Neve do: the Forgotten Ones, and also the heart of Veilguard's theme, with a lot of found family vibes thrown in.

Davrin: The blight itself, and the future of the blight without any archdemons left to cause capital-B Blights. Thedas' path to healing its nature.

Emmrich: The nature of what spirits are. I need to go screencap more specifics, but I swear this necromancer has referenced the difference between spirit and human soul and has stumbled upon saying that the two might not be so different at least once. Also, the Formless One centers around the Necropolis, and I'm thinking "spirits seeking bodies" and this whole idea of unlife/undeath is going to be explored later.

Taash: Remember how I said BioWare needed an ethos update? I think we see that most predominantly in Taash, whose entire personal quest is an examination of the values and priorities of different cultures, as well as the place of gender and gender ideology in Thedas. We saw this with Dorian and Krem in DA:I, but Taash modernizes that conversation (10 years has changed a lot!) and brings it front-and-center. At the same time, their existence is referencing (potentially) the Scaled Ones, and showing us that the kossith (Qunari) might have far more ties to Evanuris shenaniganry than we thought—and that those shenanigans did not happen on Thedas, but potentially far across the sea. (Neve and Lucanis accomplish this, also, with the Shadow Dragons and Crows, but not to the degree that Taash does).

This is why the companion quests MATTER, and (at least partially) why the game asks you to complete these quests or suffer consequences in the finale.

You know what else happens, upon completion of these companion quests?

You get codices. In Dragon Age, they are the threads that tie the seemingly disconnected pieces of the plot together, and that's on purpose. This time, they automatically unlock upon completing different stages of companion quests—and as far as I can tell right now, days after completing the game for the first time, the ones revealed later DO contain spicier hints about future lore than those revealed earlier.

And between ALL of these things—the demands Veilguard's timing placed on Bioware, the need for Rook as a protagonist, and the structure for every companion's quests—I think BioWare did an amazing, genius job with their narrative. Yes, I have seen some of the art book content, and yes, it would have been so cool to have those things, but... I truly do not think BioWare needed them, as close as I would have held cameos like Cole to my heart.

From a lore perspective? They knocked it out of the gods-damned park with Veilguard. They did an amazing job with each of their quests, and I promise: there is no shortage of juicy lore to be found in Veilguard. Now that I've inflicted an outline of what I know about stories upon you, I promise: all of this serves as context for everything I look forward to saying in future posts.

_____

If you got this far, thank you, as always!

This series is going to take a turn toward what I noticed in Veilguard, how I feel that Veilguard adds to my theories (or perhaps debunks some of them), and where I think the series is going to go from here. But in order to write all that properly and miss as little as possible (even though, in November 2024, with no wiki or transcripts, I am guaranteed to miss things), I need to keep playing the game and keep reading the codices I find.

Stay tuned for the next instalments, though I cannot say how quickly they will come after this. <3

[geekgirl101]

More 8x06 thoughts. Still processing

I've been trying to express my feelings about 8x06 on paper, and there's still so much swirling in my head. So apologies if this is too long and ranty.

The GA isn't happy for a lot of reasons. One was that Tommy did fit with the 118, he was friends with Eddie and Chim. Two: they were happy Buck was in a relationship, and it seemed like (at least in season 7) that he was finally off the hamster wheel. And they like Eddie and Buck's friendship and don't want to see them together. After all the BS takes I've seen from you-know-whos, I can't say I disagree at all.

It's like neither Buck nor the writers have learned anything from past love interests. Tommy is the one with the most potential because of how well he fits, and he clearly has a lot of abandonment issues. Hey, so does Buck. That could have been a great point to explore.

I don't think Buck needs to sleep around to explore himself. But I do think Buck never fully processed anything.

It's wild that Buck and Tommy dated for six months and NEVER had any real conversations about exes? Tommy does strike me as the kind of person who keeps people at arm's length, who maybe doesn't say much about his past unless he has to. He could have also held back because he was letting Buck set the pace. I know Tommy isn't a main character. But they could have done so much more with this and with him. Hopefully its not the end.

The show also did nothing to show Buck's growth in a relationship, aside from the fact that he kissed a boy and liked it.

8x01 showed us that Buck was competent, professional, and mature, and stupidly I was hoping that would extend to his relationship too.

I think Buck has to figure out what he wants out of a relationship, I hope we see more of Buck talking to Josh or Hen and then he and Tommy work on making a relationship that's lasting, honest, and full of love (if we're grudging up Abby, we can continue the red string here and make that nod too)

What also bothers me is they took 3 episodes to build Buck and Tommy and show us that they have chemistry and that Tommy shows up for Buck, they had two more moments where it was clear they were getting to know each other and were solid in season 7.

And then it took them 1 episode to tear it all down without ever showing Buck showing up for Tommy. They were supposed to be getting to know each other. But six months in, it's like they didn't even know each other at all... or actually. It's like Buck didn't know Tommy at all.

I find it frustrating that we got to see so little of them, and most of it was Tommy doing things for Buck, showing up for Buck, complementing Buck, and taking care of Buck. A relationship has to be a two-way street. You show up for me, I show up for you.

And I'm glad Tommy showed up for Buck. Buck deserves love. But so does Tommy. Tommy was clearly looking for love, IDk if he was looking for a family or anything long term. Maybe he was dealing with a bad breakup and Buck was adorable, and he thought, maybe this could be a thing for now, but he ended up falling for him, clearly, and panicked. But I think on some level he was looking for someone to show up for him too, even when things got hard. And maybe this is foreshadowing. I hope it is. But I refuse to get my hopes up about it, or about Buck's love life ever again.

[vibratingskull]

Howdy, can I please make a request for a ThrawnxF!reader . they have children together but he has no interest in marriage, and because of this and because of their age gap, she is known as the Grand admiral concubines /mistresses.

Either she embraces it, or will she confront him about it.

This is an interesting starting point, but it would be quite OOC for Thrawn to do that (imo), so I took the liberty to tweak it a bit, I hope you don't mind 😋

Thrawn x F!reader

Tags: pregnancy, cultural miscommunications, reader may lacks some neurons... oops

You huff sitting down with your pregnant belly preventing you from moving easily. You groan as it tenses up your lower back muscles. 

“Hard day, mama?” Karyn eyeballs you, lightly amused as she sips on her cup of caff. 

“Arf, don’t tell me about it! They are destroying me, they kick and move around all night!” 

“It must not be that hard if you keep having them.” She chuckles, “It’s the fourth one, correct?” 

“Fifth: I had twins.” You correct. 

“Ah yeah... Grand Admiral Thrawn’s greatest accomplishment.” She muses, “He was so enthralled by the news he invited me for a drink in his office instead of strategizing.” 

“Glad to know my boyfriend and best friend meet behind my back” You snigger, “Should I start to worry?” 

It is a joke of course, you know Thrawn would never cheat on you, especially not when you are carrying his heirs and Karyn would never betray you in such a way but she seems to not have gotten the memo with the look she is giving you right now. 

“It’s a joke, Karyn. I know you’re not doing anything behind my back.” You exhale a tired chuckle as your baby kicks again. 

She gauges you up and down with a weird expression, stirring her cup. 

“What?” You demand. 

“Nothing... Just that Grand Admiral Thrawn would probably not appreciate that.” 

“What? Joking about him cheating? Maybe, but you do not need to tell him.” You wink at her. 

“No, the ‘boyfriend’ thing.” 

You raise an eyebrow at her, lost. 

“Then what am I supposed to call him then? ‘Sir’? ‘Master’? Cause I am not doing that.” 

“Simply your ‘husband’.” She explains, “I do not think he would appreciate being relegated to a ‘boyfriend’ status, that is all.” 

You sneer before wincing in pain. 

“Karyn, do you see a ring on my finger? Then he is not my husband, not even my fiance. He is my boyfriend. The father of my children but my boyfriend.” 

She looks more and more disconcerted. 

“That is not how he refers to you.” 

“Really? If you tell me he calls me his ‘baby mama’ I am going to cause a scene.” You joke, gulping your can of fruit juice. 

You are craving fruit juice so badly with this pregnancy... For the former one it was chocolate biscuits with whipped cream! 

“He calls you his wife, (Y/n).” She drops the bomb on you. 

Your gulp almost goes the wrong way and you start coughing behind your hand. 

“What?!”  

“You never noticed? This is how he refers to you to others.” 

“No?!” You respond flabergasted, “Since when?!” 

“Several years? A little bit before your first one if I recall.” 

You open your eyes wide open. 

You concede that you are a pretty obliging person but Thrawn seems to have taken some liberties behind your back! You raise on your feet, fuming and head toward Thrawn’s office under Karyn’s questioning gaze. 

Apparently, a discussion is in order. Thrawn needs to learn that being a Grand Admiral doesn’t grant him all the rights in the world, especially towards you! 

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“Hello, dear ‘husband’ of mine!” You coo, leaning against the doorframe. 

Thrawn raises his gaze from his datapad to lay on you, a tight smile flourishing on his lips. 

“Hello, Ch’acah. You seem in good spirits today.” 

You refrain your eyes from twitching at his compliment. Is he already playing the smartass? 

“What can I help you with?” He asks, laying his pad on his desk to fully focus on you, his eyes shining bright, “Is it about the baby? Do you need a back massage?” 

“I need nothing, WE need a discussion, however.” You start, entering the office. 

Thrawn tilts his head to you without departing from his small grin. He gestures to the chair on the other side of his desk. 

“Please take a seat. What do you wish to discuss, Cheo Ch’acah?” 

You do not sit down, preferring to lean forward, a hand on his desk, hovering over him. 

“I would like to discuss husband privileges and how you help yourself with them.” 

He squints at you, silent questions in his eyes. 

“Is it about the baby?” He finally asks. 

“No, Thrawn.” You cut short, “I would appreciate you stop referring to me as your wife to others.” 

“I do not follow.” 

You agitate your hand before his eyes. 

“Simple, see my naked finger? As long as there is no ring on it, you do not have the privilege to call me ‘your wife’. This is husband privilege and you have not upgraded the situation to that level yet!” 

His eyes navigate from your hand to your face, a puzzled expression on his features. 

“You cannot have your cake and eat it too, okay? If you want to parade as a husband, wife me up. Until then you are my ‘boyfriend’. I understand that you might be uncomfortable being referred to as a ‘boyfriend’ at your age and rank, but this is up to you at this point!” You snarkily explain, “I think I gave you enough hint that I wanted to be more than that, but you never proposed. So man up and accept that you are just a boyfriend for now!” 

He slowly blinks, his mouth behind his folded hands, listening attentively to your complaints. You abandon your sass for a sweeter tone. 

“But if you want to change things up, feel free to do so, I will not complain!” You raise back up, crossing your arms on your chest. 

He remains silent for a few more seconds with a stern expression before taking the ground. 

“I do not understand.” 

You gruff, annoyed. 

“Listen up Mister. You may be the father of our children but you do not get to polish your portrait with an honorable title you did not earn, okay?! It may be shameful for a Grand Admiral to get a woman pregnant without marrying her, but at that point that is on you! It is the fifth one and I still see no ring!” 

“(Y/n)...” He speaks incredibly calm but also deadly serious, “We are married.” 

You blink in silence. 

Is he gaslighting you or something? That would be a first in your relationship, but apparently it is never too late to start! 

You let out a sneer. 

“Would you please not take me for an idiot, Thrawn? I would really appreciate it.” 

“I am not taking you for an idiot, (Y/n). I am absolutely serious. Do you not remember the ceremony?” 

Is he... Is he serious right now? You consider him carefully like he was crazy. 

“No...? We never went to the temple or any officials of any kind?” 

“It was in the living room of our apartment, Ch’acah. We drank the tea, recited the vows, and made love all night.” His voice remains assured but you can see in his eyes he seems... distraught. 

“We... Drank tea and made love? Do you remember the amount of time we did that? At the apartment no less?” 

He looks into your eyes and lets out a deep sigh. He lowers himself to open a cabinet of his desk and takes out a metallic box that he puts on the desk for you to see.  

“I search for this tea for months.” He opens the box to reveal mauve tea leaves and a scent that punches in the face with memories “We brewed it together for an entire week, drank it sharing a cup, and recited the vows before going to bed. Do you not remember that night?” 

“I assumed you tried to be romantic after a long campaign!” 

“I asked you to tie your fate and life to mine for eternity.” He continues placidly. 

“I thought you were asking me for a baby! How was I supposed to know they were vows?” 

“You recited them back to me as the ceremony demanded.” 

“I simply reciprocated?! You asked me so I asked you in return!” 

You feel yourself getting dizzy. You do remember that evening now, it was chilly outside and thrawn prepared a fire, he turned off all other lights and invited you to sit with him in front of the fire to share a cup of that tea he purchased earlier near the wild regions and brew for an entire week. It tasted savory and a bit salty honestly. He prophesized his love to you and you gladly confessed yours back, he then took you languorously before that open fire all night, shielding you from the night with his mighty body. 

... Is that a Chiss wedding ceremony? 

“This tea is part of many legends on Chiss worlds. As it is said it bound the soul of two gods of the night for all eternity in our myths, and it became integral to our wedding ceremonies. Sharing it with your intended is the staple of any Chiss wedding.” He explains, “The vows and lovemaking are common to human practices.” 

You need to sit down. You are going to fall or something and the pregnancy doesn’t help! Seeing you getting weak Thrawn immediately stands up to give you support. You shakily pull the chair and sit on it with his help, breathing deeply. 

What did he just tell you? 

“You could have been clearer!” You admonish him. 

“The vows were pretty explicit.” He counters. 

“Either way! Do you think this is enough to get married in the Empire? Alien’s ceremonies hold no legality here!” You counter! 

He looks at you more and more confused. 

“I made you sign the legal papers the next day.” He retorts, a strange edge in the tone. 

“The ne- Those were marriage papers?!” You ask flabbergasted. 

His shoulders lower slightly. 

“Did you not read them?” 

“We were in the process of buying the apartment, I thought you needed my signature for co-ownership.” You explain, “Do you remember the amont of paper you asked me to sign? I did not have time to read everything!” 

He looks down at you from his full height, a hint of pain in the glow of his eyes. 

“Do you truly think I would get you pregnant without making you my wife first?” He finally asks, “And evince disrespect towards your personhood?” 

You bite your lips. That indeed seemed quite bizarre for him, and you were surprised to not see any ring appear on your finger after the announcement of your first pregnancy. When the second pregnancy arrived and still no ring was to be found you simply accepted that you did not know him as well as you first expected. 

Or so you thougt! 

“No...” You admit, “It would be quite... out of character.” 

He contemplates you in silence, hands clasped behind his back before skirting his desk. Very... tense. 

“Thrawn...” You breathe, calculating your error, “Ch’acah, I am truly sorry. I... I just...” 

His burning gaze turns to you, but you have no word to save yourself. What could you say now to soothe the wound? 

“Just tell me you did not pretend we were not together to others during this entire time.” He finally speaks with the coldest tone you ever heard from him. 

“No!” You immediately protest, “I never pretend such a thing!” 

He gauges you up and down, his lips pressed in a thin line before averting his gaze towards his ysalamiry statues. 

“Thrawn...” You call, standing back up to embrace him from behind, “I am sorry I did not realize sooner. I love you, do not be mad at me please...” 

You hear him breath deeply before taking your arms off of him and turning towards you, holding your hands. 

“I am not mad at you. I am simply a bit... Shocked.” 

You wince, squeezing his hand in an appeasing gesture. 

“I should have been clearer in my intentions. I assumed you understood the meaning of the ceremony as you went along with it. The blame is on me.” He edicts, recovering his regal attitude. 

“No, I should have understood on my own.” You correct him, “I should have understood when you reacted at my first pregnancy. You are not one to abandon your pregnant woman to uncertainty, I should have realized-” 

“Then it is both on us.” He stops you before it derails. 

“But... Why not a human ceremony too?” You cannot help but ask. 

“Back at the beginning of our relationship, you stated you did not like all this ceremonial. I thought you would be more receptive to an alien courtship.”  

And it downs on you. 

“Oh... I lied.” 

He tilts his head, question in his eyes.  

“I lied because I thought you would leave me if I told you I was thinking about marriage.” You bite your lips, “Like my ex.” 

He sighs deeply. 

“Like that impotent fool?” 

You bat your eyelids and grin, raising his hands to your lips to kiss his knuckles foundly. 

“I was wrong Thrawn, and I have never been happier.” 

“Are you?” He investigates, still on the defensive. 

“Yes! I entered this room as a possible future single mother of five and I will exit it as a married woman.” 

“You entered as a married woman.” He leans forward to kiss your forehead, recovering softer dispositions. “Now you can proclaim your status to the entire world.” 

“Like you did all this time?” You chuckle. 

“Indeed. I take great pride in being married to you and fathering our children. Your are my greatest success.” He confesses, holding you close to his giant stature in a tight hug. 

“I love you, Ch’acah.” You murmur only to him. 

“I love you more.” He smiles tightly, “Do I now have your blessing to flaunt my husband’s privileges?” He taunts. 

You cannot help but burst out laughing. 

“Yes! Yes you can!” 

And he captures your lips for an infinitely tender kiss. 

@bluechiss @justanothersadperson93 @thrawnspetgoose @Thrawnalani @twilekchiss @dance-like-russia-isnt-watching @obbicrystaleo @elise2174 @davesrightshoe @Holylonelyponyeatingmacaroni