#I actually like Gaius as a character a lot

[deus-and-the-machina]

ffxiv garlemald discourse is so funny because people will go "ugh people just cant stand it when things aren't black and white" and then you look at how the empire are portrayed in stormblood and shadowbringers and its like hm. that seems like a pretty intense and accurate display of violent imperialism to me! Wow I wonder why people in this day and age may find it hard to feel sympathy for them or even hate them on principal. god its such a mystery.

the games like 50/50 to me on how it tackles these themes because I actually like the garlemald arc in EW, I think it has a lot of horrific and powerful scenes depicting how self destructive fascist propaganda and beliefs are, but I also think it doesn't go far enough on some fronts. the garleans' xenophobia is most notably and obstacle to getting them to accept the contingent's help, which is what they're there to do,

but there's never an admission of harm from any garleans on the uuuuuuuuh massive amount of war crimes the nations around them are still suffering from they're just kind of like "we misjudged you...but you actually wanted to help us all along" like yeah thats great now can we get you all some deprogramming because you keep talking about returning to your prime and glory days and I think we need to unpack some stuff you really SHOULDNT return to. im not even really talking about EW proper but the patches where things are a bit more chilled out and people are recovering.

It feels like they wanted to have their critique of imperialism and also have things end with the beauty of human connection and reaching out and these things just don't mesh well because hey a lot of your modern day audience is not gonna like having to treat people yelling xenophobic things at the cast and your character with kid gloves after you showed them hours and hours of the awful things these people's beliefs have done. especially in the present day hoo boy.

[my-current-obsession]

I gotta say, it took me a bit to really get into Rune Factory 3 (in fact when I first got the game and tried it out I quit after like two hours and didn't touch it for a few months just because the gameplay was a bit janky and it was missing some quality-of-life stuff I was used to having in 4 and 5 and I got really frustrated), but on my second foray into the game it really sucked me in. I might even like the story and especially the romance aspect better than the other games.

I really appreciate that the romance is a forced part of the narrative; you literally can't access the final dungeon and beat the game until you pick a girl to marry. And BECAUSE of that, this game went hard on actually developing the girls and giving you ample time to spend with them. The request system basically functions as a "route" for each girl, and while I've only completed (9/9 one-time quests done) a few of them (Raven, Daria, Marian) I've really enjoyed everything thus far and felt the relationships develop from strangers to friends to love.

And unlike 4 and 5 where I have clear favorites in terms of who to marry, I honestly don't know who I'm going to pick yet. The only girls I'm NOT particularly interested in are Carmen, Colette, and Kuruna. All the other girls are great and I'd be happy to marry any of them, though I AM leaning towards Raven, Marian, or Sakuya (who I WOULD have completed already if not for some of her events being locked behind plot progression...).

[devotedlystrangewizard]

duty roulette is so funny as a concept like ok. queue into levelling roulette. heres the dungeon that happens before the most traumatizing event in the game. or tower of zot with the arkasadora? the level 89 dungeon that is such an emotional beat when you go through it during msq? and then also heres the swamp level again. you really thought you escaped aurum vale didnt you

[picaroroboto]

For the past couple days, I've been unfortunately cursed with thinking about Zenos yae Galvus. I don't even particularly like him - not that I dislike him either, Zenosfuckers you can put your scythes down - but it seems to me like a lot of the fandom either greatly misunderstands him, or doesn't even care to try to understand him, which from an objective standpoint as someone who cares deeply about writing in video games kind of pisses me off. But I'm more pissed about the fact that I'm apparently going to keep thinking about this issue until I actually write a character analysis of him.

Q: "But, what even is there to analyze with him? Isn't he all about wanting to fight the WoL and nothing else?"

Well, you wouldn't be wrong with saying that. That motivation is at the forefront of his character, and even if you look closer, everything about him comes back to either "violence" or "lack of understanding of others". But there are more meaningful sides to his deceptively simple character. That question of meaning is what I really want to look into - what does his character mean, what symbolic or thematic role does he play in this story?

Q: "Better question: why are you posting this on your art blog/Fate meta sideblog?"

Good question, with a stupid answer: I have all of 6 followers on my FF14 sideblog, and around 150 here. Let's go under the cut so they don't have to read a wall of text, unless they want to.

When you look at and compare FF14's villains, you can see a very clear change, no doubts thanks to the change in main writers. ARR Gaius and Thordan are more or less two-bit villains - Gaius's memeable iconic Praetorium speech gives us insight into how fascists try to justify themselves but little into Gaius's actual personality, while all Thordan gets as far as depth of character is an NPC in a sidequest remarking that he wasn't always a bad person and was probably doing what he thought best for his nation. Nidhogg is a little more understandable, since revenge is a relatable motivation to anyone who's been hurt by others. In Stormblood, Zenos and Yotsuyu are both presented as deserving of pity even as they do terrible things. Come Shadowbringers and Endwalker though, the story takes a greater interest on why villains like Emet-Selch and Elidibus do the things they do, and the player is allowed more options to try to understand them and see how similar they are to the WoL. Hell, Hermes and the Endsinger are barely "villains" at all, with the level of sympathy the story shows them.

What I'm getting to here is that Zenos, with half his arc in Stormblood and the rest in Endwalker, is sort of caught in the middle of this shift. He played the role of the rival character in Stormblood really well, but come Endwalker, he's standing on a stage full of heroes and villains with grand causes and deep motivations, as the guy whose sole motivation is fighting for pleasure.

It seems he's not unaware of this contrast himself - when Jullus confronts him for ruining Garlemald for no good reason, he retorts with "Would you be happier had I a good reason?" Zenos makes no attempt to justify his own actions and doesn't care that his reason seems incomprehensible and unforgivable to others. Yet in that same cutscene Alisaie hits him with the fact that if he keeps living solely for pleasure, he'll die alone. When next we see Zenos, he's alone at the Royal Menagerie waxing philosophical about what he really sought in the battle with the WoL.

See, what really motivates Zenos isn't just the thrill of battle - this guy has gotten Battle High and the joy of human connection confused. Really.

Even before he gets so perturbed by the idea of dying alone, there's other suggestions, like his proposal of friendship to the WoL when they fought in Stormblood, and then later his dying words in which he explains that he never understood others - at his core, he's just lonely. I know there's an official side story that tells it, but you don't need to know the exact details to glean that he had some sort of tragic backstory. Sad, but not a surprise, considering he's the prince of the Garlean Empire, raised to take the throne and continue the Empire's legacy of violence.

At his core, he's a very lonely person, but also a thing of violence, raised using violent methods for the purpose of causing more violence. Violence is how he lives and breathes - the only way he gets any sort of connection with others in a world of hurting and being hurt is the brief connection warriors dueling as equals can sometimes find. Don't deny that this sort of connection exists - FF14 is great at making fights that are both fun and tell a story. Hence, why he goes crazy for the WoL, but also refers to them as "friend". In their fights, he senses (or thinks he senses) similarity between him and them. Beneath all the madness is a pure, genuine joy in seeing the self reflected in the other...but he also instantly gets on the train to projection-town, population Zenos, and assumes the WoL is exactly like him, ignoring or failing to notice that they also fight for deeper meanings. The worst part is, he doesn't even notice that what he's actually seeking in fighting them is connection until Alisaie's aforementioned callout.

So he goes and angsts for a while, then turns into a dragon again and flies across the universe to help us kick the Endsinger's tail feathers, then issues his challenge for that duel he'd been longing for. But what's changed is that he starts with a question - "Such pleasures you sought for their own sake, and for no other reason, is that not so?". Dying after the duel, he's full of questions too: "Was your life a gift or a burden? Did you find fulfillment?" Alisaie's suggestion that he'd die alone actually spurred him to realize what he actually sought in the WoL, and now he's asking all these questions in an attempt to, for the first time in his life, genuinely connect with another human being.

The questions aren't important just because they're a sign of how Zenos has changed in Endwalker - they're actually the thematic heart of Endwalker! ARR may have had "Answers" as it's theme, but EW is the expac of questions. Namely the biggest question of all: What is the meaning of life? Different characters have different answers to that, leading to the grand-scale symbolic conflict being the Endsinger's despair - her belief that there is no meaning in life - versus whatever reasons the WoL chooses to live for, left, as always, up to player interpretation.

When you look deeper, Zenos isn't actually as out-of-place in the symbolic conflict as he first seems. His depressed worldview - that metaphor about drowning in a swamp again - seems to align with the Endsinger's view about life being meaningless. But he aids the WoL in defeating her. In that way he serves as part of the answer to her question about the meaning of life. He may have resented life at times, but he still found meaning in chasing pleasure. Not the strongest or most beautiful reason to deny oblivion, perhaps, but it did enable him to help the WoL triumph. I think of Zenos's philosophy as being connected to the concept of "Amor Fati"...largely because this quote explaining it sounds like something he'd say, or at least agree with on some level:

"and if our soul has trembled with happiness and sounded like a harp string just once, all eternity was needed to produce this one event—and in this single moment of affirmation all eternity was called good, redeemed, justified, and affirmed."

So he does have a meaningful role in Endwalker, as the "Amor Fati" against the Endsinger's "Memento Mori". I think that in this the story shows that his reason for living, while somewhat shallow, is not necessarily a morally wrong thing in and of itself (setting aside for a second all the people he hurt in his pursuit of that). It's just that, since it is a lonely pursuit that denies everything except for his target, it still feels empty. The core of the counterargument against the Endsinger's despair is that both pleasure and fulfillment are necessary to live a meaningful life in a meaningless universe, and that's why Zenos is here in Endwalker. Why he even exists in the story in the first place.

Even if you're one of the people who deeply hates Zenos...well, you probably wouldn't have read this whole thing if you did, but I still think it's important to read into characters you dislike, because every character in a story is written for a reason. Plus, trying to understand even their worst enemies is one of the WoL's key traits as of ShB and EW. With his last breaths, Zenos was trying to understand the WoL too - carrying this understanding of him with you as we move into our next adventures is the least you can do for your "friend".

[notedchampagne]

What makes a tlt au work for you? Do u have any favourites out there/that you’ve thought of?

its hard because it can go down to the writing! i have a huge bias for things that put focus on the characters acting awful and driving the story forward- if a story has a plot thats great, but its the difference between "gideon and harrow keep meeting up at parties and fall a little bit in love every time" and "gideons angry she lost her childhood to the cult so she attends a party with the tridentarii to shotgun adolescent experiences, and harrowhark, frustrated that gideon is pulling on her metaphorical leash, follows to stalk her". the former retains a 5+1 fic format and is more bite-size, while the latter puts more focus into their growth as characters. im not great at articulating what i like specifically, but ill put my favorite fics below:

what if nona was dogs tugs at my heart: its post-canon, slice-of-life, and has a unique concept (said in the title). i judged a book by its cover because i thought the premise seemed too silly at first but ive been made a fool and its pet clown. it feels so true to nona the way its about all the things nona loves and how she gets to explore the world through new eyes. i love the way it explores characters softening up and getting hurt through a third person pov

we have always lived in the apartment by @thatneoncrisis i keep saying this but for the love of GOD guys this au is so good it makes me cry and feel such a deep catharsis from it. it takes gideon and harrow and the ninth as a cult and explores their struggle to adapt to a modern society when noone ever gets a break (WOW ITS JUST LIKE IN REAL L-). quinn writes the sides of griddlehark i think go overlooked in fanfic often: their codependency, their tendency to lash out when theyre defensive, their mutual paranoia and different coping mechanisms, harrows psychosis and gideons bitterness, their relationships to each other as being the only other person who really understands what the other suffered through. god. i feel lightheaded.

"but SAM, i dont like angst but i want to see this writing!" read gap between a tragedy and a comedy

"SAM, i also like when gideon and harrow are horrible because theyre maladjusted teenagers! but i want more antics where the characters drive things forward over angst!" read whats eating gideon nav

you just aint receiving is one of my FAVORITE modern aus of all time (and i heavily recommend the authors other fics as well!) if you really want to see how much i love this fic the fact that my comments take up the entire phone screen probably says a lot. its hard to put it concisely: it keeps harrows air of misanthropy and cruelty but redefines it as the result of her upbringing and personal struggle to live in a university while dealing with a backpack of mental illness and frustration. it changes gideons personality as the daughter of john gaius in a way that makes sense having her grow up with johns middling parenting skills and getting everything she ever wanted (connecting it back to kirionas personality in ntn!). it brings in side characters (specially palamedes. my beautiful boy palamedes) in ways that compliment harrow and gideon but not so obviously that they only exist to be supports. they have their own lives and ideals. its a modern au that brings in the boiling politics of johns cult uprising once again in a really novel way

semi charmed kinda life by @griddlebait. jesuchristo and all his middle names this fic is GREAT for you if you want a slice of life, coming of age type modern au that explores what its like for gideon and harrow if they actually got the space to see who theyd become outside of the stifling fate tlt has for them. as far as modern aus go im usually very hesitant to read them because im afraid modernizing the characters takes features away from their core but i really love and respect the way the author treats the 69ers with care and draws distinct lines that shows me how their grow and change while keeping a line to the anchor. also they write HIDEOUS (complimentary) PINING. DISGUSTING. some of these chapters were so chock full of dyke drama that they made me nauseous and whimsical. i think once a friend said this fic felt like if gh could be reincarnated and i like that descriptor a lot

til the cows come home is another postcanon fic that made me feel sick and crybabyish about it- i would definitely recommend it if you want to explore a happier ending with griddlehark! with this and what if nona was dogs the thing i like most about them is that they mix up vulnerability with pain and fear, so it feels more lifelike that way if that makes sense. i lost my taste in fluff fics over time but when its interspersed with struggle and characters causing problems because they cant cope with themselves it feels much more earnest and raw

this became very long. im not sorry

[autumnslance]

Normally I'd agree many Final Fantasy games have rather young protagonists. It's because they're usually single-player JRPGs made with the assumption of younger players, and like most Young Adult media, create characters that cater to that, even if it ends up with teens running the world and fighting in wars. And for many players, the first time playing these games is in childhood/adolescence/very young adulthood. So it's YA anime.

Final Fantasy XIV does not fall into that same mold, despite the "Teen" rating for legal and distribution purposes.

The majority of the FF14 cast, including the bulk of the main characters, are between 20 and 40 years old (the Scion Archons, Ishgard Elf Husbands). Many other characters are between 40 and 80 (Ishgard's Counts are all late middle aged to elder dads/grandpas, Gaius is mid 50s, Jehantel and Ran'jit are elderly, all still active). The younger characters (especially with any authority or special position) like the Leveilleur twins, are actually outliers. And the youth of the characters between 16 and 20 years old tends to be plot relevant, where that inexperience and naivety causes problems and drives story (Nanamo's arc at the end of ARR into HW, Alphinaud and the Crystal Braves, Ryne's determination of self in ShB, etc).

Characters have a variety of appearances; some characters in the same age ranges look very different. Varis is only 4 years older than X'rhun but Varis's model shows the stress and disagreeableness of his life a lot more than the RDM trainer's. Cid's in his mid-30s but with the beard looks older--and without it he has a baby face (hair color doesn't matter, cuz they do keep the anime trope of "everyone's got white or silver hair"). Lalafell are designed to be anime-cute halflings so it's hard to tell their adult ages even if they've got facial hair like grandfatherly Papashan. The pad'jal of course look like kids, but the youngest main pad'jal is A-Ruhn in his late teens; all the others are adults stuck in adolescent bodies. E-Sumi is a few hundred years old. Kan-E uses various methods to look older so other leaders and people from outside Gridania will take her seriously as an adult. The padjal introduced in the StB WHM quests is a child, and that's the plot; she's not in charge of anything, or has any particularly advanced-for-her-age skills. She's just a kid having a really rough time.

This inability to determine age by looking and assuming isn't just due to limits of the game engine and character creation options; it reflects real life. I met my work team for the first time in person recently; one person looked older than I know them to be, thanks to months of stress and health issues. While all of them were shocked to remember I'm in my 40s as according to them, I "look much younger". Most people are actually pretty bad at guesstimating ages based on appearance, due to the variety of folks' lives.

Speaking of kid characters, many of the children we interact with, like the Doman Adventurers, are between 12 and 14 and act much younger. Khloe has this going on too, with her age "corrected" to 13 (when previously listed as 10), but she acts way younger to me. Most of the actual child characters are treated like children, and it's not until they get to 14-16 (Honoroit, Leveva) that we start to see them treated like maturing adolescents and having some rsponsibilities, but still young and prone to the kind of choices one expects of less experienced and more emotional youth.

As a MMO, FF14's primary audience is actually adults; teens do play the game, but also age up with it if they keep playing. If a 15 year old began playing with ARR's release, they're in their mid-20s now. Having a primarily adult cast, and treating child characters like children, and adolescents like young people figuring out how young adulthood works, makes sense for this game.

FF14's time bubble is also part of the issue; a developer tool to keep it so they don't have to worry too much about character ages, new models so often, or how long things take in game. Timelines are then intentionally left malleable for the players' benefits, to create our own stories and determine how long things take for our WoLs and their tales. Some folks have their stories pass in real time, some compress it to a year per expac, some expand it out even longer. So the ages the characters have listed in the lorebooks and rarely in game (which is then reflected in online resources), is a starting baseline. Personal headcanons as always should be applied (including changing around some character ages to fit one's own story if necessary).

Also, FF16, made by the same team, has a brief prologue/tutorial section where the main trio is between 10 and 15, guided/trained by adult characters, experience the inciting incident trauma--and then we spend the majority of the game with the main cast in their 20s and 30s. The game also has a mature rating, featuring some sexual situations, lots of violence, and stronger language than other FF games. It's made for adults, and its cast reflects that.

So it is a matter of audience expectations; for a MMO, you're going to have an older and aging player base, and the varied ages of the cast reflect that, as do their varied appearances and experiences as adults. The young characters are treated closer to how their youth should be; still with respect for those in positions like Nanamo, but also prone to errors due to inexperience that drive story. In other FF titles, which were made to be more YA-focused, a teen and young 20s cast were treated much differently. But even in the single-player FF titles, if they are made with adult players in mind, their cast and stories likewise reflect that.

[gmax]

WHY! TIS VALEN VAN VARRO VIC VON VIVIVIVI THE WEAK LINK IN THE SORROW OF WERLYT!?

firstly to me he fails to be interesting as a foil to gaius and his beliefs -- he's more of a straw man than an actual commentary. when gaius was so complex and believable in the ways he was a terrible person it's frustrating that the only thing they can seem to come up with when making a character that is meant to reflect his bad qualities and create a closer examination of his flaws is "cartoonishly evil scientist that doesnt believe in the sanctity of life because 🤷"

and he's not interesting as an antagonist to the auri siblings either. him being the one driving the plot is just the point to me where things became uninteresting and one-note. it paints the siblings as victims who just.. found themselves in an inescapable bad situation and are trying to make the best of it when they could have been so much more. as someone who's into mecha who can tell that the person who wrote sorrow of werlyt is also into mecha the weapons and the pilots are a highlight of the questline. child soldiers are being fed to war machines and turned into monsters that resemble the colonizers that took their homes and lives from them. it's haunting. it should have been amazing. but the story both refuses to give them agency and risk bloodying their hands and refuses to engage with what their lack of agency means. and i cant help but think valens is part of what makes it feel that way.

but then the way the writers refuse to sit and let characters that arent necessarily meant to be "bad" people do bad things without sugar coating it or attempting to make up for it frustrates me. gaius is a big example of this to me. i have problems with sorrow of werlyt besides the way they chose to write valens but he feels like a representation of a lot of the issues i have. i hope this makes sense.

also you can take all of this with a grain of salt it's just my onion based on my reading of werlyt lol 👍

[katyspersonal]

hey what's the deal with Gaius armor set confirming Loretta isn't an albinauric?

I saw his set in details on Fextra and even discussed it with someone, but might have missed something ...

Actually missing a lot for obvious reasons, but Loretta is essential for my AU, need to know everything abt her 😊 BTW I headcanon her being not albinauric. Maybe mixed somehow for some reasons (had such thoughts, need to elaborate)

Ah, it is this thing!

This bit confirms that there is a correlation between Albinaurics and not wearing shoes or pants! Some have legs, like Latenna, but you can tell they're weak as they have to use their wolf companions to move around, others have their legs already fade just like Albus said:

(Post by Zullie the Witch ( x )) With Gaius, you can't really see it by normal means as it is obscured by the boar's saddle, but he doesn't have legs at all anymore it seems:

(Video by BonfireVN ( x ))

Meanwhile, Loretta clearly has legs, and pretty much armoured too, and uses them to ride her horse!

There were other clues prior, such as description of her staff saying that her being an Albinauric is an "absurd rumour", or Albinauric Staff's description saying that the secret of Albinaurics is casting sorcery using Arcane when all Loretta's sorceries are Intelligence-scaling! But the legs thing really DID it for me!

P.S.: That makes Loretta second character who is not THE oppressed species she sympathises with but only cosplaying as one. Another character like that is Dung Eater. And since he has been at the Haligtree they had to have the "we're not so different you and I" showdown and I will NOT be convinced otherwise fdjfdjsfds

[barbwritesstuff]

How do you come up with the names of your characters?

Very haphazardly and off the top of my head. A lot of the time I just choose a name with the intent of swapping out names for better ones later... and that never happens.

Occasionally names will have some slightly deeper meaning, but only very slightly.

For example, Vicky and Ed are named after British royals just because I wanted to very quickly give them names that sounded like sibling names.

Marcel got his name because it began with 'M' and I wanted to give him an M name to help ease the transition between calling him Medici and Marcel.

Iliya is named after a character in War and Peace because a) Russian b) book lover. I used a different spelling to make it less obvious (but I've now just confessed so now it's really obvious).

Tracy was originally Trixie because I wanted a T name to match with her Tinkerbell name and Trixie also rhymes with Pixie... but I decided that was actually way too on the nose and so went with Tracy instead.

Pretty sure Sergi just got his name off some 'common Romanian names' list somewhere.

Gaius is named after Gaius Julius Caesar because I'm nothing if not obvious.

Marco just showed up and I was like 'I'm Marco' and I was like 'okay'.

I'm sorry. I'm not a very deep thinker when it comes to names.

[cerastes]

What are some of the greatest/most impressive feats of strength in Arknights’s story?

Taking the overall narrative and worldbuilding into account, I believe the most effective aspect of Arknights' narrative is that they managed to make Terra feel like a breathing, living world and setting instead of a vehicle for the point-of-view character to exist in and act upon. This is specially remarkable for a mobile gacha game, as settings in these tend to be exactly that sort of vehicle instead of world that give any hints of existing when outside the player's immediately vision. The way I like to think about it is, "if a tree fell somewhere in this setting while my intended point-of-view or self-insert character isn't there to see it, did it make a sound?”. In Arknights, Girls' Frontline and SIGH Epic Seven (credit where it's due), the answer feels like a yes to me, whereas in every other game of this kind, it feels like a no, if you know what I mean.

This is intrinsically tied to the cast of characters: It is an inevitability that games where a guiding principle is to release an immense number of characters throughout its lifetime will have characters that will never have any relevance whatsoever besides existing as a minor piece in the world, and Arknights is not immune to this. Even other works of a different base nature and with a much smaller casts will be victims to this: In Trails of Cold Steel, for example, you have a pretty big cast of playable characters, some of which are very well developed and have a lot of screentime and development, and others who are Gaius Worzel. However, this leads to two aspects of Arknights as a narrative and as a game telling a story and fleshing out a world that I appreciate:

The first is that those characters that do get used, are for the overwhelming majority fun and interesting to see and accompany throughout their narrative, and rarely for me, I include the usual point-of-view character in this, Doctor. I tend to have a pretty big dislike, if not disdain, for characters you're meant to self-insert into, I sincerely cannot stand them. Doctor definitely has a big of a self-insert nature to them, but there's also a lot of the Doctor that is actually pre-established, such as them being a weirdo, tending to be very effective but also causing troublesome aftermaths that others then have to clean up, and being particularly good at bonding with assassins and underworld types, among other things. More importantly, Doctor is not present in most side-stories. This is fantastic and leads to the second aspect I appreciate.

This second aspect is that the cast has legs to stand on without needing the protagonist or POV character. You'd think this is a problem mostly limited to gacha games due to their usually flimsy narratives and structures, right? Except, this is actually a huge problem in pretty much every corner of narrative art! I can think of countless comics, manga, cartoons, anime, light novels, novels, and much more, eastern and western, that just tend to have worlds and casts that center entirely around the protagonist, for the protagonist. Whether it be a US author writing out their post-apocalyptic hoarder fantasy or a Japanese author detailing the trials and tribulations of a relatable nobody that a myriad of girls want to have sex with, and even some other pieces of art perhaps not so comically easy to make fun of, it's a consistent aspect of them that the protagonist is the center of the universe, both in terms of events and what the rest of cast thinks about, talks about, and takes action upon. Obviously, this results, in my opinion, in weak worlds and weak casts that have no legs to stand on. I appreciate that even without Doctor around, Arknights does a good job of having protagonists of their own little stories in the side stories: Olivia Silence is a joy to follow when she takes the lead in a Rhine Lab story, Kroos has been one of my favorite characters to be able to experience events through with the Sui stories, Skadi and the Abyssal Hunters are exciting to watch in Abyssal Hunter stories, and the latest event as of the writing of this post filled me inspiration, seeing Reed star in a character piece that tells us more about someone so immensely reticent to open up. It's by having interesting world events occurring throughout Terra that don't have the input of Doctor, and thus lets us see more and more of this huge cast of characters taking the lead that I think is a fascinating experience for me as a reader that keeps things fresh. It's even allowed me to come to appreciate characters I initially didn't care about, such as Bagpipe and Magallan, and see, in most games of this nature, if I don't care about a character frame one, it's probably going to stay that way because, well, if I didn't care about what their limited assortment of pre-cooked lines had to sell me on, then I'm likely not going to care about that character likely not showing me a new aspect of themselves impactful enough to change my mind in an event they'll likely just be an accessory to.

It's upon this base that I think Arknights stays interesting and fresh: A solid foundation that I can agree with and that keeps things dynamic and interesting. Specific events and story beats that I think are interesting are a natural result of these baseline aspects, but it all traces back to the cradle, to these baseline aspects that facilitate those cool narratives in the first place.

[cinderflower]

Thoughts on SotE now that I've seen/explored essentially everything the DLC has to offer.

This post is quite lengthy so I've put it under a read more.

Overall, I did enjoy this DLC and most of what it included. There were only a few major issues I had with it and most of it is from a lore perspective (wow guess about what!) and a lot due to my own personal preferences. So I'll start with the positive, because there is actually a lot of positive with this DLC.

Gameplay: I really enjoyed the gameplay and world design of the DLC, the new weapons, etc. Overall from a pure gaming perspective this is primarily peak FS. While the bosses could be excessive at times with how few openings you get and how short those openings are, that didn't bother me at all for the most part. Most bosses felt fair and rewarding to fight and defeat and tbh at the end of the day that's mostly what I care about when playing these games. Metyr, Rellana, & Putrescent Knight in particular stand out as the two I enjoyed learning the movesets of and fighting the most (except Metyr's lazer beam spin attack, good god).

Level Design: The levels acting as self-contained areas similar to the base game was definitely appreciated and I did enjoy having to figure out how to traverse the map to get to the various places. Each area was unique and visually stunning - though the lighting and saturation at times was jarring. The frenzied flame area in particular stood out to me as something I'd love to see revisited again from a design and mechanics perspective. Also the Cerulean Coast and Trina's area were gorgeous.

Lore: Trina!! The main standout that I enjoyed was the Trina lore. Also the lore regarding the shadow realm, frenzied flame, the fingers, Ymir, Messmer, and Marika all felt mostly seamless with the base game with most having callbacks to lore scattered around in the main game itself. There's a few things I disagree with fandom's interpretation on already but that's to be expected.

Most of the positive is a lot of what people have already been saying so I'm not going to belabor the points too much.

Now, what didn't I enjoy?

Gameplay: The excessive re-use of base game mini-bosses, specifically the ones I already hated fighting (dragons, death rite bird, fallingstar beasts) ended up all feeling like a chore rather than being rewarding. Similarly, the furnace golems got really old really fast and the gimmick ones weren't even enjoyable to figure out - I'll absolutely skip them if I play through this again. Lastly, I'm convinced the Commander Gaius fight was designed in a lab to be utterly miserable to me specifically because it had every single mechanic I hate in a fight.

Level Design: Some areas were so incredibly barren it was a chore walking through them. As mentioned above the shadows and saturation at times was jarring so I do wish that had been cleaned up.

Lore: By far the lore I was most excited for is the lore that disappointed me the most, and not even necessarily because of the story it was trying to tell, but how it told it. I've always from day 1 been onboard with a version of Miquella that strives to make the world better from a sense of naive idealism that ends up leading him down a similar path as Marika once he sees that everything he tries fails to come to fruition, that he cannot undermine the Golden Order and the state of the world with what power he has and with the power he has at his side. I am onboard with a Miquella who piece by piece compromises his ideals in an "end justifying the means" kind of way - so my complaint is how they actually went about trying to tell that exact setup.

Before even the Radahn debacle, the heavy heavy heavy leaning into the bewitchment aspect of Miquella was so incredibly disappointing because it strips his character of what I personally found so intriguing about him: a character who lured people to his side for his sense of idealism, people who then had to come to terms with their own atrocities committed on his behalf for the sake of this ideal future, and all the complexities that accompany that. I always find that mind-control, bewitching, etc in fiction is an incredibly difficult tool to use in a way that is narratively satisfying which is why I detest the use of it so much, because it does exactly what it did here - it took the characters who had their own motivations, lore, and complexities pre-DLC and stripped them down to being either one-note, victimized, or it trivializes their own lore entirely. Primary casualties of this lazy writing choice: Miquella, Mohg, Radahn, and Malenia

Moving into Mohg - I just hate it, what can I say. It's all the above. The whole reason Miq needs his body is such a weak plot point that I have no words. The bewitchment takes this character who was such a beautiful narrative foil to Morgott, strips him of that complexity, and is now forever cast into the victim role. I'm not saying he isn't a victim, don't get me wrong, but to me it was more compelling when that victimhood was at the hands of Marika and the Golden Order. It felt satisfying seeing a character in contrast to Morgott who rose in the Erdtree's defense trying to make something new in response to being outcast and shunned. Sure, were the means at the hands of an Outer God? Yes. Was the blood cult cruel and wicked? Also yes - in fact, as I write this, Mohg seems more of a mirror of Marika than anyone else. Suffering under the current regime and creating an empire to overthrow it; but unable to claim godhood himself like Marika did, he needed a surrogate candidate for godhood, specifically the Formless Mother's godhood: Miquella (assuming only empyreans can become gods and Ranni's body is gone and Malenia is already under the influence of the Rot God). The reasoning for his kidnapping of Miquella is already there, so why did the DLC feel the need to cheapen everything about that narrative to just go "haha jk he was bewitched this whole time" ! Unsatisfying. Deeply disappointing.

Radahn is baffling, even now after sitting on the lore for a few days, it is utterly baffling to me. I get how the DLC set everything up so please don't try to explain it to me, I get it, but it just makes no sense when looking at what the base game set up and even Miquella's ideals? If Miquella is looking to build an age of compassion, why choose the character who wants to be a warmonger? They even re-state numerous times how Radahn finds that war suits him, which makes sense, because his character was about aspiring to be like Godfrey who was The Warmonger Extraordinaire. It made sense that between his allegiance to Sellia and his tutelage under the Alabastor Lords that he would hold back the stars (which control fate, though the DLC did muddy this up too, a post for another time) and would use that power to defend the control he had and seek out more control. But why would he seek it out at Miquella's side and make a vow for an age that would end in the lack of war? That would put him docile and complacent, nothing more than a tool, at Miquella's side?? Especially because if he idolizes Godfrey, surely he would have seen how when Godfrey no longer served his purpose, when there were no more wars to fight, that Marika cast him out - so why would he ever agree or make any sort of vow to that end? It makes no sense to me. It also absolutely makes the whole battle of Aeonia so trite and meaningless, so utterly devoid of any of the dynamic that made it compelling.

Which brings me to Malenia who actually got me interested in ER lore in the first place. It was her character that got me more interested in Miquella and consequently Mohg as characters. So what the DLC has done to her character is nothing short of tragic to me. What was the point of it all? Obviously for her scarlet rot to be cured is a big part and her loyalty to Miquella is as well and I do still believe she would go to would go to devastating lengths in his name (at least pre-DLC). But post-DLC? With the Radahn lore? Why would she entertain the battle of Aeonia in the first place? Why would she nuke herself and Caelid to try and kill Radahn if it was all "according to Miquella's plan"???? It cheapens the devastation, it cheapens her character, and it makes her look worse. Also Miquella was there as well as we see from dialogue with Freyja where he cures her of her rot so ??????? Why did Finlay have to single handedly carry her back to the Haligtree???? If this was all planned???? Someone please explain this to me because I cannot make it make sense.

The most glaring sins of all the above is that while the other lore the DLC expanded upon had roots and foreshadowing in the base game, the whole of Miquella's story in the way they decided to tell it - with the exception of Trina and his core motives - had nothing in the main game. It was all net-new information added in the DLC. And sure, DLCs are supposed to expand upon the base game and give new information, I don't disagree, but when everything else in the DLC has tie backs to the base game and this plot point doesn't? Not an item description? No environmental story telling? It's just bad writing. I refuse to believe the Haligtree statue is Radahn not Godwyn based on the base game lore, that's lazy as fuck justification. Similarly, I've seen people point to Loretta, and sure if Loretta was encountered in Caelid where all the Radhan lore was but she wasn't, she was with Ranni in the Ranni area so that's weak as hell too.

In summary: if this was the version of lore and Miquella that had been presented in the base game I would have absolutely no interest in the story or the character. If anything this DLC has served to actively sap out a lot of the excitement and joy I had in the series because it handled the main lore I was interested in so poorly (my opinion).

I'll probably still finish Field of Reeds as well as Truth and Blood especially now because I want to see the story through with the care that the DLC should have given to the characters, but beyond that? I can't see myself remaining invested in Elden Ring moving forward, especially not if the DLC canon seeps into the main fandom. I already dislike seeing the few Radahn/Miq things I've seen because of all the points above. If you liked the DLC and the Miq lore, more power to you, but I'll be cleaning up my feed to avoid a lot of it moving forward.

And my one last petty gripe: it's like they wanted the radahn/miq fight to echo the vibes of twin princes, but they utterly missed the point of why the twin princes fight from a mechanics and lore perspective was so interesting in the first place.

[gffa]

John Gaius is less interesting to me as someone who is just a shallowly awful person, and vastly, infinitely more interesting to me as an intensely human person with the powers of a god and that has fucked him up. The things he does to his friends are done out of grief, because he doesn’t want them to be gone, it’s out of the loss of those he loved that he brings them back, that there’s almost something numb about him until the depression or the rage or the sorrow hits, because like he’s Jod, he didn’t get to where he was by being able to die, and that’s terrifying for others, but I can’t help thinking that it’s really fucked him up, too, because all that power, it’s just there, it’s in him all the time, and when someone betrays you and you have the power and invulnerability of a god and you’re a hot goddamned mess because you’re still just a person who has lived through so much pain and grief and loss, you react like a human and you reform yourself out of your own atoms and permanently explode people and go, right then, either you’re loyal or you die, because you’re fucking pissed, and you don’t want to fucking deal with it anymore, because you don’t have to, you’re God, you have the power to say, no, this stops here, loyalty or die, make your fucking choice now, instead of continuing to walk that tightrope of lying to your friends but trying to make it up to them and feeling guilty but also feeling angry, all while you’re so fucking tired. But then you feel more guilt about it, because you’re a person and you’re not trying to be a dictator, you’re trying to make the galaxy better, you’re trying lighten the mood, because it’s ten thousand fucking years and if you don’t embrace your love of puns being hilarious, then everything’s going to be so fucking boring, and you’re still angry at the trillionaires.   You stop time and tell everyone to stop attacking each other because you’re so fucking tired and just don’t want to deal with it anymore.  You’re so fucking careful, even around your friends, not to bleed around them because you know what that can lead to. I feel like John is a character who isn’t evil so much as every step is an understandable one he made, each one is a very human reaction when you have the context of everything that happened before, and then layer a whole lot of depression and guilt and anger on top of all those decisions. Is he doing terrible things?  Yeah, and he’s fucking terrifying to be around, he tries so hard to be affable and gentle, but he has so much power and he’s Just A Fucking Guy, a guy who wanted to save the world and started out from a place that so many of us have started out from, each step he took to where he got and why he lied are understandable ones, the weight inside him one that I can empathize with, I too am not always the kindest when I’m depressed, I too am not always one to make the best decisions when I feel torn between wanting to help people vs how to actually get there, like if I was face to face with a real chance to save the world, wouldn’t I do some shady things to make sure it got done, because the world hung in the balance?  Wouldn’t I fall into depression when weighed down by all that responsibility to do something when I had the power/ability to do it?  Where is the single point at which he should have said no and turned back, given all that had come before? I don’t see John Gaius as a character who set out to become Necrolord Prime, that that was the intended arc, so much as he kept making one decision after another, decisions that come from a place of very human nature, and eventually we’re here, with the weight of all those decisions behind him and no one single place that really was a hard turning point.  And also a whole lot of depression. Anyway, he’s my poor little meow meow and I hope he’s dictator of the universe for life because it’s very funny and also gives me feelings.

[universitysunflowers]

I rewatched Merlin for the first time in years and collected my thoughts.

Merlin was such a baby in the first season I forget just how tiny and innocent he was.

The number of times Merlin has been suspected of witchcraft and then got out of it is so hilarious like yea here’s this actual wizard but don’t worry he’s been cleared of all charges nothing to worry about here haha

accused by the witchfinder

sentenced to death as old man sorcerer

straight up confessing to Uther in order to save Gwen

Gaius is to old for this

Sir Leon puts up with so much shit from the Pendragon family

Somebody please give him a vacation he does not get paid enough for this (having to tell his boss that he married a troll was a real low point you can see him losing the will to live)

He's running on three hours of sleep and six cups of coffee

Corrie guard commander Fox reincarnated as a knight of Camelot (working for a maniacal tyrant in the most dramatic political court the world has ever seen will take a lot out of you)

King Cenred is the medieval embodiment of the King of Hybern like that is exactly how I imagine him when I read ACOTAR (Tom Ellis, as always, was a great casting choice)

Freya deserved better Ik she had to die to keep the Excalibur storyline going but she could have been such a great character (merlin was so sad bring his gf back poor baby)

Lancelot my wholesome baby you are to precious for this world you deserved so much better

I can't explain it but I just know Gwaine would have done well on book tok

Ok I know Morgana was a terrible queen and burned the crops but honestly props to her for paying attention to the paperwork

I can’t tell if Agravaine looked at Morgana like a daughter or if he was falling in love with her and honestly both are very disturbing to me.

Aithusa is the most adorable dragon look at his little face Ik he gets attached to Morgana but seriously I can’t not love him.

seeing him so beaten and abused is so sad please get him some help

We should have seen more of him with Merlin

How Kilgharra hasn't cooked Merlin like a costco roast chicken is beyond me, this dragon must have some sort of immortality driven godlike patience in order to put up with that boy as long as he has.

Gaius please get a hair cut

I’m a few episodes into season five and I hit that point where I know what’s coming and it’s making me not want to finish the show. I don’t want to but I feel like I should.

I crapped out. I made it to the episode where Gwen uses the stable boy to try and kill Arthur and then never finished the season. I knew this was going to happen I haven't made it all the way through the series in years. If I ever make it through the end of season five again I'll be sure to give my thoughts but for now I've fallen back into a Gossip Girl rewatch.

Sometimes I forgot to write things then wrote it down later so it might be out of order but whatever enjoy my musings.

[real-fire-emblem-takes]

i think tharja should have been more important to awakening’s story. not only is she plegian and so could have provided a plegian perspective on the constant ylisse-plegia back-and-forth to help make things feel less one-sided (we aren’t given this until the second drama cd and it has to come from GAIUS, who is not plegian), but she’s also the game’s second-best example after robin of “you are not what the future dictates you to be,” one of the game’s main themes. i challenge my fate etc etc. what do i mean by this? well

first off personally, i tend to shelve the entire noire-dad support chain because it 1. sucks and 2. contradicts several other chains — ex. ricken + tharja A, where she acknowledges people don’t like to have hexes tested upon them and so has ricken test things on Her, her henry, gregor, & virion chains, where she can’t hex them at all, her frederick chain where she PROMISES to not hex him any more — and it also just doesn’t make sense with others, like her dynamics with lon’qu and libra, which are two of her most serious support chains. why would she do that to them. or considering how she is with robin, why would she hex him or her kids with him. she’s ALSO mentioned to be good with kids in her libra paired ending, making her hexing children more puzzling, and noire’s blood-and-thunder thing is also not actually caused by tharja hexing her like people think. so they wrote this in to make child abuse a teehee gag that contradicts a lot of tharja’s character setup and i just ignore it and that’s not what i’m referring to here. (note: her supports with noire mention to her she’s been tested HERSELF by her family since birth, which she thought was normal, but that same chain reveals her future self also kept noire away from dabbling in dark magic at all so it very much doesn’t make sense why she would expose her to it by testing it on her anyway). HOWEVER,

tharja is very still much a neglectful parent in the bad future and that’s her main issue. after her spouse dies she dedicates everything to getting revenge for him and tracking down the risen that killed him and neglects her daughter in the process. for the sake of getting revenge on a corpse. awakening tharja’s main thing is realising that by pushing her child away in the future she helped ruin her. noire spent most of her life doubting her mother loved her because of how she was pushed away after a certain point until tharja told her directly “i’m sure she did because she kept you away from curses to protect you. and i love you.” she’s one of the game’s biggest examples of learning what not to do and i wish she had more focus because that’s like. one of the main themes of the game <- biased tharja fan. thank you for listening

.

[askdacast]

No spoilers please, because I haven’t even started S3E4 yet (only Gaius clips), but I’m rather concerned that with the final episode of season 4 and presumably all of season 5 we are ALREADY hitting ‘Holy Week’

I’m pretty sure The Chosen crew + Dallas Jenkins have confirmed the show will be 7 seasons long?

This means the rough timeline we can expect is:

Season 5 will have the rest of Holy Week, the Last Supper, and Jesus already being arrested all within the season

If we are being EXTREMELY generous, Season 6 will be when we hit the actual crucifixion. But that, plus Easter Sunday, will take 1 episode each, and everything after that is the various epilogues within the gospels

So then what will season 7 be?? Are we going to hit Acts or keep strictly within the gospels until Jesus’ ascent back to heaven? I feel like the former has way too much content for a single season, and the latter will require a LOT of padding just to fit one season. Are we getting more??

I’m mostly just curious, how exactly is this show’s timeline going to go? And what do we have in store?

If I may be perfectly honest, I’m pretty concerned already how rushed Season 4 was. We know the gospels don’t give an exact time frame of what events happened when, but also that Jesus’ ministry lasted 3 years. Meanwhile, The Chosen feels like everything has been happening within the span of months. And I think it has clearly suffered for this pacing.

If there was any time where we should have seen more ‘padding’, a few more slower character-based scenes, or even a few more adaptations of other miracles and conversations between Jesus & the religious leaders (a la from John), I would’ve thought Season 4 would have been the perfect time for that.

But we don’t seem to be getting that since Season 4 instead opts to speed for the finish line, and to be honest I’m not sure if that was the best idea? We already have so many people complaining about how rushed Judas’ character arc is, for instance. I’m not going to comment about that yet until I’ve watched the episodes for myself, but I can definitely see where the concerns are coming from. It just doesn’t feel like we have enough time to get used to all the different character woes before the big bombshell hits.

[meekmedea]

hi medea! i was thinking about how movie!clemmie never reappears after the snakes and how it implies she died - how do you think clemensia dying might play out in the book ‘verse?

maybe she still has the confrontation with coriolanus post-bombing, but that’s the last time anyone sees of her. maybe those scales spreading turned out to be lethal. maybe a couple people asking after her once the interviews pass by and the games near, and coriolanus rebuffs a few people saying he’s “heard she’s sick” - except clemensia doesn’t make a reappearance.

at what point would endymion/aelia start demanding answers for their daughter’s whereabouts? at what point do the mentors start to actually question where their popular classmate/friend has gone (especially in the whirlwind of dealing with their own tributes and the upcoming games)?

Ooh this is an interesting one to think about. Confrontation-wise, are we considering it as when she shows up in his hospital room, or when she makes her first public appearance where she lashes out at Coriolanus in front of others?

Because I think the outcome might vary slightly.

Regardless, her death has to be announced to her parents since there's probably no way they can cover it up indefinitely.

Scenario 1: After that hospital room confrontation, she dies.

This one hurts her parents A LOT, given they still haven't seen her once. I wonder how the doctors would disguise the fact that Clemmie has scales on her. Maybe cremate her and say it's for preventing the illness from catching?

Nevertheless, this hits hard, because all Endymion + Aelia know is their daughter was so sick, they couldn't visit. Then next thing they know, she's dead and all they have is her ashes. It's suspicious.

By now, other mentors have died, with grand funerals of their own. Maybe the Ravinstill administration is attempting to go that route too for her, but Endymion is PISSED. Like this feels like a cover up. (It sort of is)

It comes as a shock, I think, to all her classmates. Especially since she'd just disappeared and was told she was sick. Like isn't the Capitol advanced enough??

Her parents probably talk to other parents and by extension, this information about Endymion and Aelia being concerned about Clemmie's death spreads to the other mentors. Someone probably let's slip about the assignment that Clemmie and Coriolanus were assigned. This makes Coriolanus the last person to have seen her.

Endymion and Aelia probably ask him for details, and it puts Coriolanus in an awkward position. Does he lie? Does he tell the truth?

I don't think he'd tell the entire truth - but whatever he does say, it's so vague that her parents know something is up.

Clemmie's situation feels like it was spun as an accident in the book to everyone else. Like accidentally coming into contact with something. And it's probably too late for Gaul to come out and say the truth, because even if she does, it seems like an excuse.

Endymion probably talks complains. Aelia does too. Hard to tell where the rumours are coming from, but suddenly there's a lot of scrutiny and blame cast Gaul's way.

Maybe this isn't enough to force her into an early retirement, but it's putting pressure on her and President Ravinstill.

Maybe Gaius' death is the final push to get Gaul out of being involved the games. Like you recruited our children into this and sent so many to their deaths. How do you answer for this?

Scenario 2: After lashing out publically at Coriolanus, that's the last time the mentors see her alive

The other mentors are probably a bit more affected here. Because at first, she's sick and yeah, maybe there's concern. But when she comes back for a day, they're like, okay, well she's fine now. That's good.

But now that she's dead? This probably gets them talking, even if the games are coming up. And they likely all remember Clemmie's outburst with Coriolanus. How it was so out of character for her? Maybe they're now wondering: ok, what happened that day? Why was Clemmie acting like that?

There's more questions directed to Coriolanus than he's comfortable with. And based on how he's not really able to answer, his classmates are a bit suspicious. Was Coriolanus at fault? Hmmm... Nobody outright accuses him (yet) but there are rumours and theories flying around.

Extra points if her parents found her dead in her room. And in their freak out, they find out about the scales and are like: WTF? I was told it was a flu, but you performed human experimentation on my daughter?

Pres. Ravinstill now has to deal with two more grieving/furious parents (it really isn't a good look with how many mentors that died before the games even started). The Dovecotes want answers.

Unfortunately those answers were most likely unsatisfactory.

If Endymion caught whiff of those rumours that maybe it's Coriolanus' fault, I don't think it's looking good for Coriolanus if Endymion approaches him for answers.

I'd say the games continue and events follow TBOSAS where Coriolanus' cheating gets revealed and he's sent off to 12. Except this time, his chances of coming back to the Capitol are really low. And if he does make it somehow, Sejanus' death probably doesn't help his reputation.

Endymion's character is more similar to Cleopatra - death is very much on the table.

A guarantee that the Snows keep falling into misfortune. Of course, there's nothing that ties back to the Dovecotes.

People might whisper that it's some sort of karmic retribution though, given how it's implied that Coriolanus' ambition led to Clemmie's death. How true that rumour is, is another story. But it's a good story that people enjoy spreading.