#I have no opinion on it I have no idea what's in the game

[libraryogre]

I wrote something similar to this... less aboyt unfucking specific ancestries, and more about the philosophies behind racism in RPGs.

So, recently, I've started saying "More Pratchett than Tolkien" to describe my approach to D&D (and other RPGs, but it seems to be more an issue with those who prefer older versions of D&D). But what do I see that as meaning? I've got a few points on this; mostly what I perceive as being the core parts of a "Tolkien" mindset of game worlds, versus a "Pratchett" mindset. Note that I am not ascribing these opinions specifically to JRR Tolkien, but rather than Lord of the Rings is frequently invoked as defense of them. After this, I'll avoid referring to this as "Tolkien" or words derived from that; my statement is pithy, better for a signature than discussion.

1) Racism as a necessary component

One of the primary objections to playing a "humanoid" character is that the character will face insurmountable racism; the 1e DMG says "So unless the player desires a character which will lurk alone somewhere and be hunted by adventurers", before going on to explain that one might want to play a gold dragon, because it can look human, but that no gold dragon would want to do this. The games will often include something like a "Basic Acceptability of Racial Types" table; 1e has one in the PH to cover humans and demi-humans, and the DMG has one to cover most types of humanoids in their interactions with each other; Hackmaster includes it in the PH. With this, it is argued, the game wouldn't be "realistic".

Leaving aside the conception of a world which must, necessarily, include often violent racism, it also shows a lack of imagination, or consideration of the nature of the world presented in D&D and similar games... while many different species live in the world, Good and Evil are real and quantifiable things, and there are gods who can communicate relatively freely with their worshipers on the Prime Material (if they don't live there themselves). A view where violent, unexamined racism can leave one still aligned as "Good" is one that is alien to any understanding of the word "Good" that I have, much less the definition of "Good" as laid out in the 1e DMG. "Basically stated, the tenets of good are human rights, or in the case of AD&D, creature rights. Each creature is entitled to life, relative freedom, and the prospect of happiness. Cruelty and suffering are undesirable." (p 23) How is this compatible with the idea that Good people can freely kill non-combatants of "evil" races?

A particularly evident argument of this is seen in half-orcs (and, in Hackmaster, half-hobgoblins). The 1e PH states that "some one-tenth of orc-human mongrels ore sufficiently non-orcish to pass for human." (p 17). Hackmaster has "Note that even where hobgoblins are acceptable, half-hobgoblins are mistreated and disliked by the locals. Half-hobgoblins share a special bond with half-orcs,alongside whom they are often persecuted as beastly monsters." (HM PH, 31) Despite both being specifically being called out as being non-sterile hybrids, the only consideration is that all half-humanoids will "will always have an human mother and have been born and raised in human lands" and be "The offspring of questionable parentage and violent couplings" (HM PH, 31); none will be, for example, the offspring of a mommy sil-karg and a daddy sil-karg who love each other very much. Hackmaster mentions that "The city of Prompeldia has developed a sizable sil-karg quarter that is threatening to become large enough to count as its own culture." (HM PH, 31). But all will be "The offspring of questionable parentage and violent couplings."

A Pratchett-style view of the game does not pretend that racism does not exist, but rather disputes the idea that it is insurmountable. The dwarves and trolls of Ankh-Morpork do begin with hatred, but they reach an uneasy peace when forced into proximity by the city. Sam Vimes, like many in the city, is riddled with prejudices about non-humans and the undead, but he overcomes them as he deals with them as people. Some of this is inspired by Carrot, the human raised by dwarves, who still considers himself a dwarf in many respects... but also respects all people, learning their names and treating them as citizens, not as trolls or gargoyles.

2) Race as unbending identity

"Humans with pointy ears" is frequently invoked when you have a non-human character who is perceived to act unlike their stereotype, or one of the acceptable range of stereotypes. Are your dwarves "not dwarven enough?" Does he like wine instead of ale? Does he shave his beard? Is he a dagger wielding tunnel rat, instead of a chain-mail clad warrior with an axe? You're playing a short human, not a REAL dwarf.

This also tends to get invoked when dealing with traditionally hostile non-humans. An elf or dwarf might violate their racial alignment, but a good orc? Unheard of. It's argued that it is impossible for any of the "humanoids" to be other than their Monster Manual entries, despite that never really being written anywhere, and several counter-examples, especially from 2nd edition (such as the Monster Mythology deity who prizes his good bugbear converts). Gary Gygax, revered by many old school gamers, even stated "The old addage [sic] about nits making lice applies", referring to noted proponent of genocide John Chivington's statements about Native Americans. As I have argued before, Dungeons and Dragons owes a lot to Westerns, and the attitude towards humanoids in a game tends to mirror the attitude towards Native Americans in contemporary Westerns; in Chato's Land (1973), you have a half-Indian protagonist, while Dances with Wolves (1990) presents the Native Americans as the sympathetic characters.

One objection to having the possibility of non-evil humanoids is the idea that a DM may use these as "gotchas"... "You killed all of these orcs but they were secretly good so now you're all evil!". But this argument fails, in my opinion, as one could also use that as an argument against DMs... "We found a vorpal sword in a crypt guarded by a skeleton with no legs!" It is always possible for a bad DM to make a bad game.

A more Pratchett-style game recognizes that the stereotypes exist, and may be the norm, but they are not the only way characters of that race can be played. Pratchett's dwarves are uniformly male-presenting, with beards and axes and iron boots, with one's actual sex being so concealed that the beginning of a dwarven courtship is "find out if the person is the correct gender." In Feet of Clay, however, we're introduced to Cheri Littlebottom, a dwarf woman who doesn't want that. She wants dresses and jewelry, lipstick and high heels welded to her iron boots. It is noted to be unusual. Other dwarves react with disgust... but it also doesn't make her impossible to exist as a character. Other examples include trolls who join the watch, vampires in the Überwald League of Temperance who abstain from intelligent blood, and golems who buy their freedom to become their own selves.

3) Only certain races are proper.

Some of this ties into the distinctions drawn between humans, demi-humans (elves, dwarves, gnomes, and halflings), semi-humans (half-elves, half-orcs, half-hobgoblins), and humanoids (orcs, goblins, gnolls, etc.). In the older game mindset, players should only be humans, demi-humans, and semi-humans; anything else is too weird or outlandish. For this, I will set aside the humanoids; I feel the objections to them are largely addressed above. This is addressed to what are often seen as the more exotic races... dragonborn, warforged, tabaxi, and the like.

The older mindset tends to describe these are unnecessary. I've even had someone describe the non-evil drow, minotaurs, and other uncommon races described as "played out", as if the dwarves with beards and axes griping at the elves of the forests isn't itself cliche at this point. The small stable of relatively human races is seen as a bonus... provided they don't go outside "appropriate" for their species, that they're human-like is enough. Orcs and humanoids are rejected as above, but there's also examples like Lizardfolk (who have always been Neutral, if cannibals) who are part of the world, but considered too out there for PCs.

The Pratchett-inspired game eschews this; while golems are unusual in Ankh-Morpork, and certainly powerful (more powerful than you might want in a low-level game), Warforged are a similar idea, but rendered playable. Tabaxi represent a different kind of character than "short and resistant to magic in some way". Dragonborn evoke the namesake of the game, again providing a different sort of character to play. That these exist don't invalidate the options to play elves, dwarves, and halflings. A Pratchett-inspired game will have a more cosmopolitan approach to races, both in terms of racism (as above), and in terms of options.

Unfucking Dungeons & Dragons

The concept of some humanoid or near-humanoid species being naturally inclined to evil is a racist one, and, unfortunately, a prevalent one in Dungeons & Dragons, exacerbated by the fact that these “evil species” are frequently the “ugly” ones. Drow are a particularly glaring example - “made black because of their ‘evil’”?! Fuck you - but the duergar - “the slaves … learned only to enslave, really makes you think don’t it” - and the orcs - “they feel the CALL to evil in their Gruumshy HEARTS” - are also super not good. (There’s also a fair degree of ableism, with “insane” monsters - in such cases, I honestly think “unaligned” would be a better description for “too far gone to understand morality”. Evil implies a choice.) Honestly, I wouldn’t mind so much if these weren’t supposed to be naturally-occurring species - always evil demons or fey are fine, because they’re made of magic and stories, although care should of course be taken not to make them look like naturally-occurring species - but elves are really just fragile pointy-eared monkeys, and they have excuses. However, these evil humanoids are also genre staples and often quite aesthetically good. To that end, I offer the Unfucking D&D Guide, which provides what I think are solutions to this problem. (It should be noted that I am whiter than plain yogurt, so my ideas should be taken with a grain of salt and definitely not take precedence over the ideas of non-white folks. If I’ve said something fucked-up in this, please let me know and I’ll fix it.)

Duergar. Keep the “enslaved by illithids, made grim & psionic” bit, toss the “learnt evil from them” part. The duergar are joyless, or can appear so - you can play them either as gloomy and fatalistic or as eccentric and unreasonably concerned with “corruption” - but despite whatever mood they possess, make sure that they are thoroughly dedicated to making sure the horrors of the Underdark stay in the Underdark, and are as righteous and honorable as their hill and mountain cousins.

Derro. The derro are an “insane” species; I bring them up only because I saw them confused with duergar in one post about racism in D&D. Their lore has not been constant - the current lore is “dwarves enslaved by illithids, tortured into madness, and now they’re eeeeeeeevil”, which is ableist, not racist - but their metatextual origin is among the detrimental robots, or Deros, of pulp author Richard Sharpe Shaver’s stories (or possibly delusions). “Born from the dreams of a mad author” would actually be good lore if you can make that author a tragic sufferer of schizophrenia in a time before it was understood rather than an ~*~eViL mAdMaN~*~, but in any event, change their type to construct, fey, or fiend, and, most importantly, don’t take them seriously. The derro are pulp villains, and their evil is grandiose and nonsensical. They ought not to be seen as realistic; they ought to be seen as Snidely Whiplash, Commander Claw, or Heinz Doofenshmirtz. “Reasons” are for other genres.

Drow. Return drow to their mythical roots as trow, nocturnal hunters, tricksters, and magical artisans dwelling in the hollow hills. There’s high and wood elves; dark elves can find a niche. Lolthite culture is good villain fodder, but make sure that you can handle an “evil religion”, and make sure that all types of elves participate.

Goblinoids and trolls. Make them fey, and abandon Tolkien for Rossetti and folktale. Goblins make cruel bargains; hobgoblins attend faerie courts; bugbears hide in closets and create electricity from feed on children’s screams; trolls lurk under bridges and love riddles. As fey, they’re not evil, simply alien and lacking in empathy towards mortals.

Gnolls. If you use the Volo’s lore, change their type to fiend and be done with it. If you want to have them be natural humanoids, go read Ursula Vernon’s Digger for the best-written hyaena-furries in literature and base gnolls off that once you’re done crying.

Kobolds. Kobolds are already draconic cleaner wrasses in lore; there’s no reason that metallic dragons can’t enjoy them as well and influence some populations to good.

Illithids. The mind flayers certainly have great potential as villains. However, there is nothing about their psychology that impels them thither. Their biological requirements could easily be met by feeding on those close to death, whom I might imagine would willingly donate their brains as food or tadpole incubators in exchange for a painless death and the surety that their memories would live on in the illithid. Also, create food and water spells exist.

Ogres. Ogres are wilderness-dwellers who prefer to maintain their personal territories through fear instead of actual force of arms; the idea of the monstrous, anthropophagous ogre is a deliberate sham. They are actually capable of great heroism, even if they aren’t exactly the sharpest tools in the shed and okay to be honest I started out trying to build up to a Shrek joke but I think I’d take this over canon lore.

Orcs. Orcs are an easy fix; all you need to do is remove Gruumsh from the equation and they don’t have a bullshit “call to evil”; in Eberron, without objective gods, the people of the Shadow Marches believe that half-orcs are the proof that orcs and humans are one people, so there’s even in-game precedent for orcs as members of society.

Yuan-ti. There are two ways to do this. One is to dump all the lore and just have sexy snake cults, although don’t dress them like Asian or Aztec stereotypes like a lot of the art does. (The 3.5 Monster Manual yuan-ti pureblood looks like she’s constantly accompanied by an inappropriate bamboo flute riff, I swear to Istus.) A sexy snake cult (and I am including malisons, abominations, and anathemas in the term “sexy”, not just purebloods) should be fun for everyone.

The other way is to keep their personalities and dump everything else, because if you keep that, you get truly excellent villains. I mean, these fuckers. How dare they drag something as pure as snakes into their Ayn Rand bullshit. Villain yuan-ti should be something transformed from willing or deluded humanoids (histachii raise the sacred snakes and the children of the yuan-ti, who possess their parents’ original race at birth). Couple that with the fact that since snakes very definitely have emotions, yuan-ti logically should as well, which means that they only think they’re above emotions. Now you have Objectivists roped into a magical pyramid scheme, which should offend no-one who doesn’t deserve it. You can mourn for the beings they once were, or just laugh in their dumb faces. Also, the sexy ones all look like Ayn Rand.

[ir-abelas-vhenan]

Something Something Yeah It's Still Solavellan Hours (Mythal is kind of here, too)

I've seen a few very beautifully articulated posts talking about the conflicted responses players are finding themselves having in regards to the decision by writers* to have Solas' atonement route possible because of his conversation with one of the remaining fragments of Mythal.

(*honestly I hesitate to put the weight of bigger game events on their shoulders because of how much I know bigger players in the company were involved, so when you read 'writers' know I just mean whoever had final say on plot)

I love reading where people are at on this, and having now breathed, re-played the scene, cried, read some more theories, and then played the scene again enough times I think I'm now able to figure out where I'm at.

TLDR: in my humble opinion, the conversation Solas has with Mythal doesn't bring him any actual closure at all. It is only the version of the atonement ending that has Lavellan in which he is actually set upon a road to redemption.

This, like everything else where I lose my mind, will be long. I tried to restrain myself and here we are, unhinged as ever.

I was unhappy at first that Mythal's incredibly brief conversation with Solas where she releases him from her service seemed to be what finally allowed him to make a decision based on his wants and not hers. My concern stemmed mostly from the fact that a lot of us are trying to be active participants in a society that recognizes patterns of abuse and seeks to establish channels through which individuals can pursue healing without the approval, consent, or demise of their abuser.

But the more I look at the scene, the more I wonder what would have happened in a world where Veilguard got just a little more time in development. Could we have gotten a scene that more elegantly conveys the theme that we cannot heal every part of our loved ones, much as we might like to?

In an imperfect world it isn't always up to us how someone finds closure, which really sucks when you'd like to ensure a loved one finds it in a way that preserves their dignity and limits exposure to the individuals who have harmed them.

And while it could be left there, I'd like to actually push back on the idea that Mythal is in any way responsible for "healing" Solas in this moment.

I went on a different tirade a few days ago about how at the end of Inquisition, Mythal says words to Solas that on their surface seem well-intentioned or placating, but they actually just serve to further bind him in guilt and a position of servitude. In Veilguard's finale, she still does not take accountability for exactly how much of a role she played in the pain that Solas, a man others have revered and feared as a god, has gone through as he cowers, actually cowers before her.

Mythal's interaction with Solas conveys exactly two things to him as far as I am concerned (I'm going to botch these quotes but my laptop is dying so please accept some paraphrase as I rush to finish this before I go cry about this analysis to my uncaring dog):

"The terrible things we did, we did together." You are forever tied to me.

"I release you from my service." But what am I releasing you to?

Because up until Lavellan joins the fray here, all I take away from the physical and unwilling emotional cues Solas gives in this scene (he is a master in trickery, for goodness' sake, the thought of so many witnesses seeing him unable to hide behind a mask has to leave him feeling anguished on top of everything else) is that Mythal has once again reminded him of everything he did in her name and telling him that all that's left for him is to go back to the fade prison and, as he as always done, endure the crushing weight of his failures alone.

To me, in my interpretation, the Solas that hears this from Mythal with no Lavellan intervention may choose to willingly step down from his original plan (and yeah, that's gonna do some damage) but he is certainly not free of his past. He's going to be reminded of it every time he turns a corner and finds more blight to try and soothe, and even the moments that he rests will be filled with more manifestations of his regret. He says it himself: where he's going? It's terrible.

Enter Lavellan. Yeah, he couldn't bring himself to listen to her at her first plea (but like damn how many times are we going to have to watch her give a heartfelt speech only for him to be like 'something something beautiful elven rejection'). But I know that you know that our clever icon knows better than to take what Solas says at face value. She tells Rook plainly that he's absolute dogshit at lies of the heart, and she says it with her whole chest.

Lavellan sees the way his shoulders slump (in resignation yes, but you can't convince me there's not a little bit of relief there, too), she hears the agony in the "vhenan" that escapes his lips (which, don't even get me started on the fact that it's been like nine years and he has no hesitation at all calling her his heart, it just spills out of him). It is not the sound of a man delighting in the steps he's about to take. They're certainly not steps he does not dislike that lead to a destination he enjoys.

And then she watches Mythal (who I can't imagine she feels any sort of fondness or respect for) pull some weird nonsense on her love one final time, and she knows it's her moment to shine.

Mythal, I would argue, pushes Solas down one more time, shames him into seeking atonement, into once again being alone.

It is the romanced Lavellan that kneels so that he cannot fail to meet her eyes. It is she who invokes their connection, not to remind him of his failures but to reaffirm his greatest strength: their love and their love alone is inevitable. Not the consequences of his past, not the regret he thinks will consume him as he seeks to mend what has been broken. It has only ever been them.

"There is no fate but the love we share". We are forever tied together.

"There is no fate but the love we share." *I* am releasing you from everything else save for this love.

Put colloquially: get absolutely fucking wrecked, Mythal.

Body language comparison to chase up the dialogue one, anyone? The way Solas shrinks before Mythal as opposed to him walking off into the fade with Lavellan at his side and standing tall, and he does not flinch when she lifts a hand to his shoulder?

Ultimately, Mythal is a part of the atonement endings no matter what. But it is only Lavellan that refuses to let him walk alone. It is only Lavellan that guarantees that his dinan'shiral ends not in a prison of regret, but a place of promise.

Mythal bends Solas until he breaks one last time. Lavellan takes each piece, claims it as hers, and uses them to build the beginnings of a future.

[puck-luck]

wait plz for your 1k celly can I request your example of 7 of hearts Quinn breeding kink like that’s rlly EVERYTHING

warnings: no actual fucking, but allusions to previous encounters. the third installment of this breeding kink/pregnancy thing that i've been writing through these cellys. here is part one and part two. might even write a fourth if there's another request for Q's breeding kink in my list! (there probably is).

wc: 897

It’s a Sunday and Quinn doesn’t have a game today. Things are already wonderful just from those two facts alone, but you have a third little fact that you’ve been waiting to tell Quinn since last week. During his short roadie down to California, you’d peed on the stick and that second line appeared. An indescribable feeling washed over you– it was a rush of emotion that tapered off into a consistent feeling of happiness. 

You were excited to tell Quinn what was happening, but you wanted to make sure that it wasn’t a false positive. You’d made an appointment at your doctor’s office, a rushed one, and asked them to do some bloodwork to see if you were really pregnant– you were. After two months of trying, you were knocked up. Quinn’s baby was growing inside of you. It’s weird when you think about a baby actually growing in your body, but you’re ecstatic that it’s Quinn’s baby and you get to experience this together.

You’re tangled up in bed now. Your head is on Quinn’s chest, hand on his stomach, and his arm is wrapped around your shoulders. His eyes are closed and his breath is even. He’s awake, even though it doesn’t look like he is. 

“Quinn?” You murmur.

“Mm?” He hums. “I think my dick is broken, baby. Can’t fuck you right now.” He shifts, moving towards the edge of the bed. “Gonna go make us breakfast, I think. What do you want? Pancakes?”

“I wanna stay in bed with you,” you reply, tracing the birthmark on his chest. 

Quinn snuffles out a laugh, dropping a kiss on the crown of your head. “Not possible. We have to eat something. Let me go make something, then we can be lazy in the living room together.”

“Let me give you a reason to stay in bed,” you say, voice growing to a normal volume. You pick your head up and set your chin in his sternum, looking up at your boyfriend. 

Quinn’s eyes open a sliver, glinting down at you. “My dick doesn’t work anymore. Fucked you too good last night, sweetheart.”

He’s right, he did fuck you too good last night. You'd had no idea how much better sex was when you’re pregnant– but maybe it was the confirmation bias. You’d read that it was better and you were excited that Quinn was so eager to fuck you full of his child, unaware that he’d already succeeded, so you felt like it was better. You’ll have to keep track of your opinion during the pregnancy, just to make sure.

“Don’t need your dick to work anymore, Q,” you tell him coyly, a tiny little grin on your face. 

Quinn’s eyebrows pinch together, confused. “What do you mean?” He asks. “You don’t want to keep trying?”

You lay your head back on his chest, listening to his heartbeat. “Not that,” you tell him. “I just don’t think you can get me pregnant again.”

Quinn goes quiet and still. His heart is pounding beneath your ear. “What?” He questions, seeming like he’s holding his breath. “What did you say?”

You smile, turning and burying your face between his pecs. Your lips kiss over his sternum and where his heart is pounding against the bone– at least, that’s how it feels. He’s racing. “I wasn’t sure if it was a false positive, so I went to the doctor the other day, and I’m pregnant, Q. There’s a Hughes baby inside me right now.”

He stares at you, eyes wide and disbelieving. His mouth is open, jaw dropped wide.

You snort out a laugh and grab his arm, placing his hand on your abdomen. “The baby and I would like to be lazy in bed with Daddy all day, please.” You’re just teasing him now, trying to get a reaction from him.

“Are you actually?” Quinn demands, springing back to life. His eyes are darting all over his face and he’s craning his neck so that he can look down at you properly. “You’re not just fucking with me?”

“Do you want me to go get the pregnancy test and the doctor’s note?” You ask, laughing.

“No! No,” Quinn says, his voice loud and excited. “I can get it. You relax.” He kicks the covers off, but you wrap your arms around his stomach and try to hold him there. He’s strong, so he moves anyway. “Where is it?”

“It’s only been a few weeks, Q, I can still move around,” you laugh. “They’re in the bottom drawer in the bathroom with all my random things. Come back here when you’re done, I wasn’t kidding about cuddling with my baby-daddy all day.” Your last sentence is a call after him, because as soon as you told Quinn where the items were, he was on the move. You can hear him throwing open the drawer and rifling around. 

You laugh, laying flat on your back and placing a hand on your belly. You’re not showing, not even close, but you know that there’s something in there. A little baby, made completely from yours and Quinn’s love. That knowledge, paired with Quinn’s excitement when he comes rushing back into the room and pounces on you, wrapping you in a hug and kissing over your face, pregnancy test clasped in his hand, makes this the best day of your life.

[mean-scarlet-deceiver]

Gordon and Edward, Part 2

Hello and welcome back to "Jobey ruins beloved RWS characters for you, using the power of... the actual RWS text!" 😇

Part 1: Gordon, what's your damage? 😭 / The Doylist Reason / Rent. Free. 

Post 2 (this post): Edward's Defences / Gordon's Growth

Post 3 (upcoming post, link later): Collision / Uh… Cleanup Crew?

Edward's Defences

Pretty consistently, through the next 45 years, Edward (most conflict-avoidant engine ever built?) takes a four-pronged approach to dealing with Gordon and the threat he represents:

He keeps Gordon at a distance. He focuses on building connections with… Literally Everyone Else. Gordon is kept more than a good buffer's length away (and when they must be in close proximity things do tend to go south in a hurry).

He tries to never give Gordon a reaction, or any other ammo. Will not admit weakness or discomfort or upset. Difficult, because he has a transparent face when he's sad! And he's comfortable confiding in others! But he'll never, willingly, let Gordon see him bleed. 

Instead he treats Gordon very lightly. Adopts a sort of affectionate knowingness, which allows him to "laugh off" Gordon's more irritating or threatening qualities. 

He takes control of the narrative. He doesn't shy from telling humans the engines' business. He spreads stories (I'm not saying false stories) that counter Gordon's branding of himself as supreme and infallible. He also builds his own brand as reliable and sensible. 

Where do I get all this from? The text: 

"I've got some trucks to take home tomorrow," he told him. "If you take them instead, I'll push coaches in the Yard." (~1925)

We're less than one full book away from "now all three engines are great friends" and Edward is already shedded somewhere else, baby. That move was likely integral to developing those two new friendships with Henry and especially with Gordon… ironic but true. Hey, we know that the big engines seem to have only learned to appreciate Thomas after he left, too! And, of course, it gives Edward some space from all of the *waves hand vaguely* at the Big Shed. He doesn't like conflict (and Gordon is a conflict-generating machine). 

They both rested at the next station; Edward told James how Gordon had stuck on the hill, and he had had to push him up! (1925) 

Bro. Bro bro bro bro bro. I am pointing urgently. 

This bit is so telling. It's been two years since the events of EDO/E&G and Edward is already seen defining Gordon's whole brand as we now know it to newcomers. 

If it wasn't for that moment, I wouldn't insist with nearly as much confidence what I think then comes into focus as a clear fact: The early RWS itself is all evidence that Edward is winning the propaganda war, lol. Gordon's opinion of himself is a silly, endearing, limited point of view. Edward's opinion of himself is canon, bitches! 

Incredible stuff. 

This scene is a glimpse into the tactics that allowed Edward to eventually win this game (poor Gordon has no idea they're playing). Here he is laying the groundwork a good 20 years before the books about them were even published! And this is a good place to remind readers that, unlike in TVS where they make Gordon's hill problem a recurring gag, we only see Gordon stalling out there and requiring a banker's help once. In Christopher Awdry's Gordon the High Speed Engine, he also specifies that Gordon (who is about to have trouble on the hill again, in the 1980s) stuck before on this hill. "[O]nce." Once. 

This is not a habit of his. It was a one-off thing. It's only remembered at all because his superior attitude and his ignorance of the words "thank you" offended Edward so deeply that he kept the memory of this event alive for over 20 years, until the Thin Clergyman got the story in print. 

It's a bit messed up. 

It's more than a bit petty. 

It's so bloody funny. 

No, I don't think Edward is some consciously evil Machiavellian genius. He's neither vindictive nor that far-sighted. But he's resilient, and creative enough to instinctively change the rules of the game when otherwise they'd grind him into rust. And there is his characteristic kindness mixed up in all of this, too: He needs to find a way to welcome Gordon's presence in his life, so he finds a narrative that makes Gordon funny and lovable instead of a threat. He sees James is insecure, so he tells that story at least partly from real solidarity and empathy. It's not like he's trashing Gordon, either – there is no lie told, and James is not put off trying to "motor-mouth" his way into Gordon's good graces. I'd characterize it, not as trashing Gordon, more… injecting an element of realism into his growing legend ;) We see in the same book that Gordon is continuing in his superior attitude (which involves putting others down, even if it's a bit more indirectly than he did two books earlier) and that his attitude depresses and dejects newcomers like James. There is good, civic-minded reason to slyly undermine Gordon's branding of himself as all-powerful and invincible – it's not good for the railway as a whole if Gordon is allowed to lord over them all on his throne unchecked, the new engines forever overawed. It is kind of Edward to welcome James and give him a boost, it's genuinely useful for everyone that in the end James triumphs to seize the role of a darkhorse rival junior but trusted colleague of Gordon's. 

At the same time, while it's all justifiable and even beneficial, this action is also very useful in cementing Edward's own position. Let's just be clear-eyed about this. 

"Shall I help you, James?" called Edward. / "No, thank you," answered James, "I'll pull them myself." / "Good, don't let them beat you." (1925-6) 

Edward and James show a perfect understanding of each other in this moment – different though they may be, Don't let them beat you is a shared value. (Shared by a lot of engines, of course; probably a steam engine culture thing. Douglas says something similar in RWS after accidentally destroying the spiteful brakevan.) It applies here to trucks, but no doubt that's a value that motivates them in other areas, too. 

It's just worth remembering this, when it comes to Edward's stance re: Gordon. He's more subtle about it than James is. He sort of has to be (he cannot directly compete with Gordon, as James can). But he's still determined to not be beaten. 

Errr, but then Gordon triggers a chain of events that Edward could have never conceived of. The Fat Controller sends him to Tidmouth, Edward goes in with no idea what he's facing, and wham. We have the first of the two really severe strains on this relationship: 

Gordon came clanking past, hissing rudely[...] / "They all hiss me, Sir," answered Edward sadly. "They say 'Tender Engines don't shunt', and last night they said I had black wheels. I haven't, have I, Sir?" (~1927)

Two things to note here. This clash doesn't only represent Gordon's and Edward's differing views on what is proper to the dignity of an engine and what he owes to his railway. That's all The Author can see of it, of course… The Author being a human, and thus with a vested structural interest in vindicating Edward's point of view on this matter — and in mocking Gordon's view to scorn. This is why, so far as the book is concerned, Gordon and his two big-engine followers don't have a wheel to run on here. The Gordon position is portrayed as thoroughly unreasonable (even if, despite the narrative's best efforts, the text must admit that the Fat Controller does actually have to get a new tank engine – which was Gordon's demand all along!) 

Because of The Author's interest, there's no chance of any acknowledgment that the other tender engines' anger might have the slightest validity to it. However I think we are seeing another, parallel clash going down here:

Gordon naturally sees friendship as, well, as an Alliance. My friends are your friends and your enemies are my enemies. United we stand, together we fall. The problem is that while Edward is mild-mannered he's not a follower, like Henry and James – he has his own mind and he's not about to substitute Gordon's convictions for his own. Edward's idea of friendship is mutual sympathy and support. Emphasis here on mutual, because you just know that young Gordon was quite prepared to receive support (as his due!) but had trouble returning it. That's something Edward considers a serious insult… whereas his own idea of friendship simply has nothing to do with "how dare you cut the branch out from under me when I'm risking my tender leading collective action against management!" To Gordon that's a real betrayal. I suspect when Edward undercut his strike Gordon was genuinely hurt and felt a real righteous indignation – one that is never expressed in canon because to the Author there's nothing even slightly valid in Gordon's hurt. But canon (the Author, the railway, the whole institution of human society that made and employs these guys) does validate Edward's position that boasting and one-upmanship are hurtful, itself a sort of betrayal – which is a big problem, since for Gordon they're alarmingly close to a damn love language.

This is a position on which I feel no need to take sides. I know the Author's position. I think they just have irreconcilable values and that Gordon's values, while I don't share them, aren't just shit, either. I don't condone all his behavior here but I do think his idea of friendship is consistent over the course of the Wilbert books and that he would feel genuinely betrayed here. And if you've been betrayed then it makes sense that you are hurt and angry. 

What a mess. 

"Tender Engines do shunt, but all the same, you'd be happier in your own Yard." (~1927)

Guys, I'm telling ya, the Fat Controller knew what he was doing when he separated Edward from the other "great friends" after the events of TTRE. He knows. Letting Edward have distance from Gordon is policy. Pre-existing policy. Drafting Edward to Tidmouth was a last-ditch effort to avoid buying a tank engine but TFC is unsurprised when it takes less than one (1) day of proximity for Edward's "laugh 'im off" strategy to fail. Proximity causes the fragile Edward and Gordon relationship to collapse immediately – which inevitably means that it's Edward who gets hurt – and so Hatt is resigned to his new expenditure. Off to the engine orphanage. 

After Percy is brought in, Gordon et. al. are suitably punished, and equilibrium is restored, there is again a long period of relative peace between 2 and 4. And it's not because Gordon has lost his capability to be an asshat to others (see "Gordon's Whistle" and "Off the Rails" and "Duck Takes Charge" and – etc.) But Edward's defences are restored and he continues to reinforce them. Again in safety at his own station, he regains his ability to laugh knowingly and to gather intel for the oppo file: 

“It sounds like Gordon,” said Edward, “and it ought to be Gordon, but Gordon never whistles like that.” / It was Gordon. / … / He screamed through the station and disappeared. / “Well!!!” said Edward, looking at Henry. / “It isn’t wrong,�� chuckled Henry, “but we just don’t do it,” and he told Edward what Gordon had said. (1935-6) 

After Henry's rebuild, there is a long "dark" period – end of Depression (including Gordon's rebuild) and WWII. During the course of the war the Thin Clergyman begins (and ends) his stint as publicity director for the NWR, and in 1945 TTRE is published. I reckon the focus on Edward, Henry, and Gordon reflects that this was a high-water mark in their friendship. The qualities and values that these three actually do have in common – duty, loyalty, determination – would have been at the forefront for those years. They would have faced a lot of very difficult days together, and together they got through them. The bond might have been heightened because frankly this is the sort of circumstance I can see them at their very best but the opposite being true for James, so there might have beena bit of "the old band getting back together" and re-bonding. In particular I can see Edward and Gordon during the war years learning to better appreciate the other's strengths. In 1945 you can easily imagine 'the three railway engines' looking ahead to a happy new era and genuinely believing that all their petty squabbles are in the past, they will never have problems between them again. 

Lmao. 

Well actually, of course, life goes on. By 1952 Gordon in particular is achieving brand-new levels of asshattery in the lead up to his ditch tourism. However, the interactions between him and Edward this year support my guess that this was a period of detente: 

“I won’t go, I won’t go,” grumbled Gordon. / “Don’t be silly, don’t be silly,” puffed Edward. (1952) 

This is their most obvious "tug-of-war" moment ever, but actually the stakes here are soooooo low lol. To me this is one of their cosiest and most comfortable interactions, actually. This is a rare case where they don't sound like stuffy, old-school, vaguely-to-explicitly dysfunctional colleagues. They just sound like siblings. For once they're being fairly frank with each other. 

Wait… what's this... for twice? 

1952 was a banner year for them, guys!

The engines in the Shed were excited and wondered who would pull the Royal Train. "I'm too old to pull important trains," said Edward sadly. / "I'm in disgrace," Gordon said gloomily. "The Fat Controller would never choose me." (1952) 

This is a remarkable moment in this dynamic. It's the only time Edward ever admits vulnerability in front of Gordon. Fascinating. 

I think it's extremely relevant here that Gordon has been in dire disgrace for what appears to be at least two months by this point. His status (though soon to be restored!) is currently nuked. Gordon's been in a very amiable frame of mind towards everyone. He has never been less of a threat.

It's also extremely probable that, even if this book was published first, this scene almost certainly takes place after EtBE. So earlier this same year where Gordon hits his lowest-ever status, Edward has hit his highest since Gordon arrived – the Fat Controller has overhauled him and Edward returned to an enthusiastic hero's welcome from the other engines. Everybody's drinking their respect Edward juice just then. 

So this is a very brief period where Edward does not seem to feel any need to keep a wall up around Gordon – nor the others. 

Now, with James and especially Henry, perhaps that wall never goes up again. But with Gordon, well. Let's just enjoy the moment. Presumably the whole royal visit prolonged this high point in their relationship even a bit longer. But it won't last. 

When Gordon and Henry heard about the accident, they laughed and laughed. "Fancy allowing cows to break his train! They wouldn't dare do that to us. We'd show them!" they boasted. / Edward pretended not to mind[.] (1952) 

Backtracking to earlier the same year. Gordon's acting an ass here – but not like the asshole of the tender engines' strike affair. We're back, not to insults, but to mere boasting. But... reminder that while Edward probably feels an insult keenly (he feels everything else keenly; why not this?), it's boasting that really seems to get under his paint.

I cannot overemphasize the line He pretended not to mind. 

Edward is not a pokerfaced engine! This is not natural behavior for him! He's the "why are you sad?" "hullo Edward, you look upset" "Where is Thomas??? peepipeeeep!!" guy. This is play-it-cool stuff is behavior he developed as a shield against Gordon. 

To be sure, we also see him employ it later this same book, this time against James: "Late again?" / Edward laughed, and James fumed away. The difference is – well, the need for the life-saving chase was pretty lucky, of course ;) but the real difference is that at the end of the affair James makes a real apology. As a result, the narrative tells us (doesn't show us, which is too bad, but I'm going to trust the telling), their old friendship is restored, strengthened even. Unfortunately making a real apology seems to be something completely beyond Gordon, at least at this point. And even if it wasn't, well, Edward never directly asks for one or complains about the behavior of the other engines to their faces. I don't know if Gordon is capable of apologizing to Henry either, but at least in that case Henry is going to be very loud and clear that he wants one. (This is probably at the bottom of the success of the 3+4 friendship. Gordon needs things spelled out for him – and Henry complains and grumbles without restraint, so Gordon will always be kept up to date on exactly where they stand.) Edward doesn't do that, perhaps can't do it because it violates his "never admit weakness in front of Gordon [or, in this one case, James]" defense mechanism. His remark referencing the "Old Iron" insult hints that he's ready for an apology – and James is able to take the hint and respond appropriately. Maybe that's why we've only ever seen Edward have to use the laughing pokerface strategy with James once, and we see him using it re: Gordon many times. 

Going back to "Cows." At the end of that story Edward needles Gordon the same way he later does James. Gordon responds, not so humbly and sincerely, but arguably a form of relationship repair happens: 

"Well, well, well!" chuckled Edward, "two big engines afraid of one cow!" / "Afraid – Rubbish," said Gordon huffily. We didn't want the poor thing to hurt herself by running against us. We stopped so as not to excite her. You see what I mean, my dear Edward." / "Yes, Gordon," said Edward gravely. / Gordon felt somehow that Edward "saw" only too well. (1952)

Well… they too are restored to their status quo. 

It's just that their postwar status quo is polite, passive-aggressive points-scoring. 

Now, at least it's civil! It sounds friendly. It sounds like there's mutual respect there. But...  

It's not enmity. But you might call them frenemies.

I also need to remind us that we are reading the above quote because it is in print. Post-war, there is a new factor playing in this dynamic, a nearly-invisible but probably incredibly important one: the Thin Clergyman keeps publishing one or two books about their goings-on, every damn year. His interviews and his publications have already stirred up all sorts of old history (notably Troublesome Engines came out like two years ago, so they got to re-live that pretty recently). But now the RWS has "caught up" to current events so the engines are having the interesting new experience of an account of their doings for the year coming out, like, right away. Everyone becomes famous, but this also means that the books (and The Author's take on them) are shaping more and more people's perceptions of these guys, who have enough foreign traffic on their railway in this era that they cannot be ignorant of this effect. You know what they say about fame: it takes already imperfect relationships, and makes 'em better! 😇 Wait, no, they definitely do not say that... There is no chance that this sort of meta "reality tv show" factor didn't affect their outlooks and relationships. 

Especially in a relationship like this. Where the Thin Clergyman's account of things heavily favors Edward, and rather severely trims Gordon's wheels. 

Ooooooooooooof. I don't even want to speculate about the details of how this play out, but just bear in mind that it's. there. 

Maybe it illuminates a lot of stuff going on in Duck and the Diesel. Including this… 

“[H]e told Edward what Gordon had said. / “Don’t take any notice,” soothed Edward, “he’s just jealous. He thinks no engine should be famous but him.” (1957) 

Erm. That's a pretty blunt assessment. Especially from an engine who usually has rose-colored glasses firmly attached. 

I've never heard Edward say anything negative before about… anything. Literally anything. Let alone an anyone. 

His prior remarks about Gordon always had the air of "haha… lol… Gordon, we love him of course 🙃…" There's no laugh here, no fondness, no attempt to soften things. 

Not that this bluntness is a bad thing, in and of itself. But if the goal of Edward's defences was initially to find a way to maintain a good relationship (and I think it sincerely was), then the last example, from DatDE, is a yellow flag. It's been over thirty goddamn years now, and Edward is not growing more accepting and comfortable with Gordon – the opposite, actually. I don't hear Edward being unfair to Gordon there, precisely, but I do seem to hear markedly less tolerance than before. 

And this is interesting, the hint that Edward is losing patience with Gordon. Because Gordon is actually engaged in a lot of self-improvement. 

Gordon's Growth 

He's been on a magical journey of character development, guys. 

And it started way before his book/1952. 

We see the little crocuses of Gordon's emerging awareness that Other Engines Have Something To Offer, Too almost from the get-go. I would count the fact that (back in 1923) it's Gordon who proposes that Henry is let out of the tunnel to try pulling his train. Which. Crazy idea, really. But even crazier because Gordon's been shown to have previously spent day upon day upon day whistling "Serves you riiiiiiiiight!" 

Honestly, this is yet another hint to me that Gordon comes across as way harsher than he means to. I almost called the above "openly taunting Henry." But honestly, given his immediate and unexplained turnaround by the end of the story… once again, I think Gordon was being judgey and blunt, but really had no idea that what he was doing was so hurtful. Or that other engines have, like, feelings. Real feelings. 

We see this pattern again and again. Gordon tells Edward "[I'll] be a splendid sight for you" and James "Ah well, we all have to begin somewhere, don't we? Run along now and fetch my coaches" and the two smaller engines, quite understandably, seem to say in their hearts oh my God, what an insufferable asshat. Meanwhile Gordon thinks he's being friendly. Or at least condescending (but, like, in the fun, benevolent way). Similarly, Gordon tells back-from-major-reconstructive-surgery Henry that he's been really letting the side down in, like, three different ways – and I bet if anyone had directly challenged him he would have sincerely been like "... What? What's the problem? I told him we were happy to have him back!" Even his spat with Henry that led to his boasting in "Off the Rails" began with what have may been genuinely mother-henning his friend. I would not be too shocked to learn that Gordon gets twinges of unease that he never examines every so often when he sees Henry with a train and has a subconscious flashback to their fears for Henry's life after the Kipper accident. Altogether, there seems to so often be a good and commendable instinct on Gordon's part – it's just that for the longest time he doesn't seem to have a clue about how to transmute those instincts into something that other engines are going to find legible. And then if he gets even slight pushback his good instincts collapse and he reverts to his childish "meee! meeeeeeee! 😤😤" instincts. 

It's a slow hard slog for him to learn how to Use His Words and Relate To Others, but we do get to see progress. And it starts early! He makes friends with James after James successfully takes the Express (1925-6) – and it's really quite a gracious overture. He, along with James, sympathises with Henry after the elephant incident (the Author, of course, explicitly denigrates this, suggests that it was purely a matter of politicking and scheming and that it would have been healthier to have mocked Henry, the way the proletariat should always be cutting each other down at the slightest opportunity, really sticking the boot in each other's neck gratis. But hell with that! Lmao. Catch me ever swallowing Management's narrative about how their striking workers banded together. Anyway, even if I granted for the sake of argument that Gordon was faking his sympathy, well, I mean. Gordon faking sympathy is still #Growth. Fake it till you make it!) He is also friendly and kind when he rescues Percy from the Big Bank of Earth – he indeed shows so much tact that he finds something to give Percy credit for, instead of saying (which would have been true) "This is all your fault, dumbass…" 

"Off the Rails" represents a bad week or so for him, but the incidents in the rest of Gordon's book don't show us a newly humbled Gordon – more just a recently re-humbled one. His behavior to James is perfectly in line with those previous incidents. His behavior to Thomas doesn't come out of nowhere either… although in that one Gordon is trialling some new material: 

“I’m sorry I was cheeky,” said Thomas. / “That’s all right, Thomas. You made me laugh. I like that. I’m in disgrace,” Gordon went on pathetically. “I feel very low.” (1952) 

We all see what's new here?

1) The Alliance. Now, Gordon putting words to it (and words that make it into the RWS) is new. The concept overall is not new; this seems to be a verbalization of an attitude that Gordon has adopted long ago. As I argued above, this is just Gordon's whole concept of friendship. It is worth pointing out, though, that he never before extended this concept to tank engines. (He could condescend to them. Not offer them alliance and equality, though. Therefore didn't get upset when Thomas didn't "understand" his concerns as A Tender Engine, either. There was no expectation of a pact. Not back then. It's only now that this changes.) 

As the next decade or so goes on, we're going to see that Gordon (and Henry) seem to continue extending this implicit alliance to every steam engine. (Diesels, after that whole disastrous introduction to them via the most devious of engines, are a sort of last barrier.) Think "We engines have our differences, but we'd never talk about them to the trucks." Think Gordon laughing with Stepney and Duck over their triumph with "the heavy train." Think of rallying around Donald and Douglas when they learn there is a threat of scrap. That concept of alliance that was once limited between the big engines (plus or minus Edward, depending) is now extended. It doesn't mean that there are never conflicts or clashes within the ranks, of course! But it does mean that there's a new attitude spreading on this railway. This book is where we see the first sign of Gordon spearheading it. I wouldn't say he gets credit for creating or implementing it all himself – but he does deserve credit in the sense that, if he had not whole-heartedly bought into this idea, it wouldn't have become entrenched on the main line. 

2) Vulnerability. I directed attention in the previous section to the way that Edward will not admit weakness in front of Gordon. Gordon has something similar… but worse. Until this point, Gordon would not admit vulnerability to anyone. At most would complain, or try to make some "objective" case as to why he is ill-used. 

That isn't what happens in this exchange. He doesn't make the slightest argument for himself, he doesn't object to being in disgrace. He simply owns, aloud, that it sucks. I feel very low. 

There are other indicators that this is not a one-off, that Gordon is simply coming to terms with the reality that he is, basically, a sensitive soul: 

One day Gordon saw [Sir Handel] shunting, and laughed. / “My Controller makes me shunt,” Sir Handel said sheepishly, “and take trucks to quarries too. I’m highly sprung, and I suffer dreadfully.” / “Our Controllers don’t understand our feelings,” sympathised Gordon. (195…5?) 

This isn't as vulnerable as the Thomas case – Gordon's not feeling Very Low in that moment, after all – but it is very intriguing. In a previous book, Sir Handel treated Gordon like they were equals, which left Gordon "speechless." As well it might! And now, when Gordon meets up with him again, he does have the upper wheel: He catches out Sir Handel not being so very express-enginey after all! But when Gordon laughs at him, Sir Handel owns up to his embarrassment. And this is exactly how you get Gordon's best side. When you're vulnerable, he stops acting the bully, and he's sympathetic. Very similar to the case from "Percy Runs Away." But this time, Gordon seems to be going a half-step further than just claiming the role of benevolent patron. "Our Controllers don't understand our feelings." He really does cement Sir Handel's claim to equal fellowship. 

It's probably not mere politeness, though, that makes Gordon sympathize. He's revealing something important here about his inner life. When Gordon is seen as his most proud and demanding, he is actually troubled and upset – putting up a very good thick front over it, though. 

We will see confirmation that he's a creature of Feels again in 1968, after he spends a whole page (that's a lot of time, in RWS-land) unable to express more than "I'm not happy" – which the other Tidmouth engines ignore or treat as a superficial complaint because, well, they just had no reason to think that Gordon would ever be like this: 

Gordon backed down on his train, hissing mournfully. / “Cheer up, Gordon!” said The Fat Controller. / “I can’t, Sir. The others say I’ve got boiler-ache, but I haven’t, Sir. I keep thinking about the Dreadful State of the World, Sir. Is it true, Sir, what the diesels say?” / “What do they say?” / “They boast that they’ve abolished Steam, Sir.” / “Yes, Gordon. It is true.” / “What, Sir! All my Doncaster brothers, drawn the same time as me?” (1968) 

*dramatic gesture* Gordon the “I Just Want a Little Goddamn Sympathy” Engine, ladies and gentlemen. 

Returning to our overall topic, this is an interesting similarity between Gordon and Edward. Despite their numerous and obvious differences, they both have a lot of Feelings – like, to the point where it’s a burden, and figuring out what to do with ‘em drives their respective character arcs. 

Being them, of course, they approach the problem from opposite directions, lol. Edward is basically toughening up, and starting to adopt the role of an elder/mentor (he does this a lot later than I gather people think he does, and in more limited circumstances. But you do gradually see him becoming less A Normal, Emotive Peer and more of A Sympathetic Listener, One Half Step Removed from Ordinary Engine Life, Giving and Not Asking For Support). Gordon has almost the reverse assignment. He's opening up, and gradually learning how to come down from his high horse and be on a level with others. 

Once Gordon learns how to use his words to express himself like a rational being, he starts being able to form much healthier bonds with others. (I didn’t say with everyone. And I didn’t say they were perfectly healthy. Just… healthier than some of his past bullshit, lol.) 

And, when Gordon gets the kind of support he needs, he becomes much less of a pain in the arse. This arc continues all the way through to the Christopher Awdry books. 

To the extent that, as of Main Line Engines, he IS still a pain in the ass… well, I think we can infer that he hasn’t yet got that support network quite in place. 

Ironically, ‘emotional support’ is a real strength of Edward’s. It’s something we’ve seen him lend generously to a laundry list of other engines… and something we never see him offer Gordon. 

For obvious reasons. Gordon burned him so many times before and (the key commonality, of course) Edward is sensitive, too. It’s always obvious that he feels things keenly and takes things hard. His character arc has a lot to do with channeling that sensitivity into action and learning to build more backbone. 

It's on a collision course with Gordon's character arc, which is about connecting with and owning his feelings and learning how to express them. 

We can see the crash coming in part to, again, the absence of what we see between them in this pre-60s era. Gordon has repeatedly proven that he can be a very good friend, when an engine is down (Percy, James, Thomas, Sir Handel). This is a great footing for Gordon to show his best and most generous side. 

Unfortunately Edward's entire strategy for dealing with Gordon since at least 1925 has been about NOT showing any weakness in front of him. A strategy he's followed with great success. 

So it's no surprise, that both characters are growing and developing, but that their relationship is growing more and more hollow. 

It's no surprise… but it is aggravating. 

And the thing that makes you want to tear your hair out the most? Gordon – Mr. Oblivious himself – has no idea anything's wrong.

And, honestly, watching Edward getting slyer and slyer about forever keeping Gordon squarely on the back foot is a joy… I’m so proud of him… even as part of me groans because, funny though this is, they could have had something even better. 

Let’s take a closer look at MLE. They’ve both spent decades now dosing on ‘character development.’ Unfortunately those arcs are on trajectory to criss-cross – and the smash-up happens here.

[the-100-days-of-junkan]

Day 58

Hey remember when randomly a couple days ago in the event I mentioned that one of these days makes me irrationally angry??? Yeah this is the one. 

So context for this one is that in the danganronpa section of a server I’m in someone asked a question around the lines of-

“Who is your favorite character for a Mastermind AU?”

Nowadays if you asked me, I’m very fond of the Mastermind AU I drew for Toko and Komaru during Tokomaru Week this year, and it’d probably be my answer nowadays.

However if you asked Jem from several months ago, who was brainrotted to absolute hell over these two to the point that she could barely form an opinion on other characters (don’t worry I fixed that issue in my brain, kinda), you know damn well her instant response was Mikan.

At first it was kind of a non-serious filler answer because I didn’t have anyone else who piqued my interest for that at the time. Arguably at first I wasn’t even interested in Mastermind Mikan initially. And then my brain saw I was apathetic to it and was like “Hold my drink” before it spiraled into an AU, which I of course would then use for Day 58 at the time. 

I drew up a character design and some basic details in a total rush, and then drew a really basic but cute enough image of the two alongside various headcanons for this version of the relationship. I actually intended to draw a bonus image of the two on their own just because I felt like I was kinda scamming ya’ll if I didn’t. However I have like, none of the time for that on my hands right now, I’m JUST starting to learn Web Design at the time of writing this. If people like this enough I might try and actually draw some proper art of this AU again though.

As for why this day makes me angry, uhhhh yeah no it’s completely irrational. I have no justification in the slightest I just know that every time i scroll past this  one while looking through the folder of Junkan art for the project I just get annoyed.

I’m actually really happy with the Mastermind Mikan design, might be a biiiit overdesigned? But let’s be real if we’ve learned anything over the course of whatever the hell you’d call this project, it’d be that I am nothing if not a woman of pure excess, especially within the small realm of this ship. 

Okay so hi this is Jem from like, slightly in the future. And when I say slightly I mean like 20 minutes ahead of the previous paragraph. 

So I drew a Monokuma for this AU. Something I didn’t do for my Mastermind Tokomaru AU. I kind of had the idea for a Mikan version of Monokuma in my head for a decent amount of time, partially because I also want to do some art of Mikan and Junko in Shiro/Kurokuma cosplays later (yeah sorry spoilers there is no shiro or kurokuma representation in this project. But worry not, UDG does have representation, muuuuuch later). That made me think about how Shirokuma does kind of have similarities to Mikan (i think, it’s been awhile), which made me realize that monokuma but purple sounded neat. So there’s this now.

I imagine that Junko would still be voicing this version from behind the scenes. Partially because unless it’s literally an Ultimate Voice Actor Mikan AU there’s no way she can do that for a whole killing game. The other reason is I just kind of imagine that Mikan would take a similar role to Tsumugi, being both a member of the killing game and the mastermind, rather than what Junko did where she faked her death and orchestrated from behind the scenes without suspicions. Also yes this would mean that Junko is behind the scenes as normal, just that this time she’s solely focused on managing Monokuma. The Control Room is directly connected to Mikan’s room for easy, non-suspicious access to all the mechanisms. And also so the two of them can cuddle at night, obviously. 

Oh yeah with this Monokuma Redesign I would probably also change Mikan’s hair pin to reflect the same color scheme, even if I do like the way it looks with normal Monokuma colors. I would also probably make a “normal” Mikan design for this version. Just tone back certain parts of it to give the illusion that she isn’t the mastermind. Y’know, for the game that will totally exist based off this au, definitely. 

Honestly I think rambling about it has made me soften up on this one a bit, for now at least. So for real I might try and draw more of this AU regardless of whether people want it or not. That said y’know, if you DO want more of it feel free to say so cause that will in fact give me some mild motivation lol.

Oh I guess last thing. When I first showed the initial Reference image of this Mikan to friends one of them pointed out that I accidentally made her plan into, what is essentially the American Healthcare System. I swear to god that wasn’t intentional but it did make me laugh. 

As always, Reblogs, Comments, and Little Notes in the Tags are appreciated!~ They always make my day!~

[fandom-scatteredthoughtsonpaper]

REGARDING THE RECENT OBEY ME NEWS

if you haven't seen it yet, brace yourselves, and here is the link

i am a simple writing blog that hasn't really posted much in the last year or so of my own work (honestly, 2024 has not been kind to me or my plans), but Obey Me brought me out of my writing funk and gave me new ideas and fresh passion for writing because of the characters and connections i made with them. i specifically made **five** characters to pair with specific boys and Thirteen, and they're not fleshed out, they are individualistic and their own person based on my feelings and opinions with the OM characters. OM helped me through the pandemic and filled a void. I joined a server that was (back then) heavily based around OM, and it led to me joining a fan zine and collabs, and then me hosting my own OM collabs.

I did develop some unhealthy connections financially, but overall I've enjoyed most of my time in the fandom, despite the last year and a half regarding NB and poor writing and terrible decisions made by Solmare.

The fandom has definitely withered and gotten smaller, but it's still alive in certain places and circles. I really had plans for a fifth year anniversary for the original OM app, a collaboration of gratitude and thanks for the good times and memories, reflecting the event that had the boys celebrating the 6 month anniversary of MC in the Devildom.

I still want to do that, despite 2024 ruining the planned timeline for it. Right now would be a bad time with planned vacations and traveling for holidays, end of year work stuff and school, and other celebrations, but as a belated celebration and a sending off to the times we spent playing the games and memories formed and friends made, I was thinking of moving the time frame of the collaboration to sometime in January or February.

We, as a fandom, deserve a good time to, ultimately, say farewell to the old Obey Me, aside from what Solmare has stated. With this celebration collab it would also be a final event to really show off what the characters meant to us. Use our characters that we created to celebrate with.

As an ending to this year, short-sighted as it seems, I plan to host a Secret Santa/New Year's mini-collab precursor to the bigger celebrations. A link to that will be put up sometime next week, so if you want a direct link, leave a message or send me a DM so I can send it

Feel free to invite others, especially if they have MC and OCs, to celebrate if they want to join. Another post about the celebration collab will be made later!

[madameevil]

I'll try to divide this into 2 parts. First part using game codex entries, other DA canon media, etc to refute points or counter points. Second to point out how some of these points are due to personal interpretations differing. So basically... let's use "facts" for most of the first half and "opinions" in the second. No guarantee that'll work out as I type this but that's the goal at least.

"Solas already knows who Rook is. He doesn't need much time to know who Rook is, it's not a problem for him." Ok but he doesn't. He thinks he does. He thinks he has Rook all pinned down. It's why he doesn't expect Rook to escape the Prison of Regret but Rook does. Solas is convinced that all of his manipulation to get Rook to drown in regret is enough to keep them trapped in that prison. In his pride, he doesn't expect Rook to escape. He once again doesn't expect Rook to see through his final betrayal about the veil. He also doesn't expect Rook to have enough cards by the end to stop him (which is conditional based on what you do in the game)

"If Cassandra rebuilds the Seekers, she is able to deal with emerging cults and unrest quite swiftly (according to the endings)." The ending slide literally says "showing no interest in worldly affairs" - Are you thinking of a different ending slide? Or a different quote? I honestly don't remember this being mentioned at all and can't find any reference to it. Cassandra also spent time in the Hunterhorn Mountains north of Orlais, where she worked to rebuild the Seekers. For a time, the new Seekers remained reclusive, showing no interest in worldly affairs and working to a purpose few outside their order could guess.

"Also, Friends of the Red Jenny are implied to operate throughout the entire Thedas and have quite a history (they've been mentioned since DA:O). So, for them not to be mentioned at all during the events makes no sense." They started as an organization based out of Ferelden and expanded to (areas that we know) Kirkwall, Orlais, Starkhaven, Tantervale, and Nevarra. They're not described as a powerful global organization. They're peppered throughout Thedas where they can get a foothold. We don't have proof or any mention of them being a thing in Tevinter or Antiva.

"Venatori should not even be a thing. Venatori rose to power only because of the Corypheus" The Venatori at their core are a cult of Tevinter-Mage Supremacists. That ideology doesn't just vanish or appear suddenly. The ideology is deeply rooted in the Tevinter Imperium. Even Dorian points out that many magisters still privately support the Venatori's ideas. While they won't outright sanction it. The Venatori's power increase may be directly tied to Corypheus but these ideologies have been present in Tevinter for a long ass time.

"So, at best there should be some Venatori cults present - but they won't be having that much power because they no longer have structure, they no longer have their god-magister, and they have nothing to sway magisters on their side - especially if they failed to provide any alternative to Corypheus in 10 years and went back to worshipping the Old Gods. [...] To make them the main problem is lazy writing." I don't think we need to get into a lesson on power vacuums here but let's just use the definition of "when someone in a place of power, has lost control of something and no one has replaced them." With Corypheus gone there is a power vacuum. A cult of fanatics don't just say "oh well, guess we'll go home now." According to Tevinter Nights (which the franchise being a mixed-media franchise has it's own problems), while a lot distanced themselves from the Venatori there were still a good number of loyalists who remained active. This leads to Aelia trying to fill in that role. She does gain a decent amount of support for it. Even when she's "captured" she has enough sway to escape prison and cause problems. Why? Because the Venatori's ideology is appealing to a lot of people in Tevinter even if they don't directly associate with the cult. However, with her "failure" we have another power vacuum present - so why is it "lazy writing" to have the emergence of another powerful mage that speaks like Corypheus and offer power similarly to what he did fill that?

"It makes no sense for the Venatori to be the main bad guys because the entire Tevinter fucking sucks already. It's has a horrible, hedonistic and power-obsessed ruling class where dominating the weak is considered good manners. Dorian should be having his hands full by fighting the entire Senate on such concepts as "slavery is bad" and "we should treat non-mages as people" - because Tevinter abhors change and its power is full of assholes like Aurelian Titus. The Venatori are just one shade of ugly the Tevinter has - and not the most prominent one." The supremacist ideology of the Venatori embody everything you're saying here. The examples you're giving are all part of the supremacist mindset. Hedonistic and power-obsessed ruling class? Yep. "Slavery is bad" and "we should treat non-mages as people" Those two concepts are directly against the supremacists ideology. We also do get some notes from Dorian doing just that Veilguard. The Venatori isn't just one shade of ugly, it's the embodiment of everything wrong in Tevinter. It's the supremacist ideology given form.

"Yes, it makes sense for Varric and Harding to take part in the search for Solas - but I can't believe that Rook at least hadn't been approved by the Inquisitor. and that Rook doesn't have means to contact the Inquisitor for further instructions in case something happens to Varric, or Harding or both of them. This is counter-productive." Varric is the one tasked with forming a small team. It's his responsibility to form that team and onboard people and vet them. With the way it's framed in "The Missing" Varric had full authority to bring on whoever. He didn't need approval. They kept in touch via Charter and sent correspondence to the Inquisitor but there wasn't any need for approval. Varric is the main path and Harding is the back up. That's 2 channels. Until the incident happens to Varric that seems standard. When the incident happens with Varric, then I believe Harding should have introduced Rook and the Inquisitor sooner to keep that practice of a back up channel open. Harding does reach out to Charter pretty early to inform them about what happened to Varric and mention Rook. I would have liked an Inquisitor meeting or letter sooner though.

I think below is where different interpretations come in.

"Solas knows how Leliana and Josephine operate, but that's not going to stop them - and it should not stop them when the fate of the world is at stake." You think they wouldn't let that stop them. I think they're smart enough to not continue to play an active part if any information they get or send off is information Solas is spoon feeding them. If their continued involvement would cause more harm then good then yea, I think they would take a step back. I think they would hand off the reigns to others.

"However, it's going to be insanely ha[r]d to prove the threat to anyone else and then tell them to go find Solas. At the same time, intentionally holding back information about what Solas really is means sending the "someone Solas doesn't know" to their death. They go after Solas, thinking it's just a really strong mage - and they don't know that it's actually an ancient god." Given Varric's line to Neve at the beginning, Varric is upfront with the information: "I also told you he was an ancient elven god." Whether the person believes them is dependent on the person. Rook has been tracking Solas with Varric for a year or so. I think by now they've witnessed enough to believe Varric's information.

"And she is going to stop now, after it's revealed that the threat isn't gone? There is no way she won't be an active participant. Even the fact that Seekers aren't welcome isn't going to stop her." I do actually think that the threat of severe political consequences should a southern religious military group make moves in a northern territory under a different religion would dissuade her. Cassandra isn't stupid. We also see her get less rash in Inquisition. We see her stop and think things through more. So actually, yes I do think that since mobilizing Seekers in Northern territory could at worse be seen as an act of war she would let it stop her. She even says at the end of trespasser "we need to be careful."

"Basically, it meant that the Inquisitor and their allies were going to try harder, learn what they can and find new resources, new information, any leverage possible. This is why the Inquisitor sets their course for Tevinter at the end of Trespasser: they were preparing to cooperate with a controversial state, pulling strings and calling favors, finding people with an ample knowledge of magic and ancient history that could assist them with finding any clues;"

L: "My agents have found nothing with the eluvians he could be anywhere"

C: [Dialogue about whether you disbanded or kept the Inquisition]

L: "We have what we truly need."

C: "We will need to be careful."

L: "Solas knows everything about us. Who we are. How we work. Our strengths and weaknesses"

Inky: "Then we find people he doesn't know." [Dialogue about if you are saving him or stopping him]

I do think this means they were going to find new allies and new people. Tevinter Imperium is a good place to start looking for that. And all this plays out through the comics and Harding and Varric's stories. (which again making the series Mixed-media has it's own complications) They do find new allies through their journey. They do find people who have ample knowledge of magic and ancient history. This idea also continues to play out in Veilguard. We find someone who has connections. We find someone who has ample knowledge of ancient magics and history. We find someone who has ample knowledge of the fade since that's what Solas was directly trying to manipulate.

I do not think it implicitly means what you've interpreted it to. I think that's how you interpreted that and I think that's a valid interpretation of it. Unfortunately that's not where they took it. That's also now how I interpreted it. I think a lot of the fandom interpreted this in different ways and that leads to disappointment if their interpretation wasn't correct. I think that's what's happening to you here. I don't think Bioware not catering to your interpretation means "they don't care." or anything like that. I think it's just that what you predicted or assumed based on the information provided ended up being incorrect. Other people predicted it correctly. If anything this just means that the marketing team could have done better at setting expectations and making sure everyone was on the same page.

oh my god that was a lot to type.

I don't think the game is perfect by any standards (no game is). There are things I wish they could have included or flushed out more, but I don't think any of that was done by Bioware devs "not caring." I think the Bioware team does actually really love their world and lore of Dragon Age. To quote their artbook (which is actually insane to look at):

"Art books like this one are the perfect opportunity to showcase what you don't see in the finished product: the inspiration, the blueprints, the unused drafts. We barked up a lot of wrong trees. We explored some wild directions--some ending in dead ends, others ending in precious treasure. We also created a lot of material that we liked but didn't have the capacity to build (in this game, anyway)."

If Bioware truly didn't love and care for their world and lore, the artbook wouldn't be as beautiful and jam packed as it is. There wouldn't be other medias of the series: books, comics, animations, movies.

But Bioware can't just make whatever they want. Bioware is owned by EA (not just published through them. OWNED by them). Bioware has to pay people to make the games. They need to get the funding and approval from EA to do so. This means that no matter how passionate the team is, there's only so much they can do and EA gets a huge say in what that is. EA who explicitly stated earlier AFTER BG3 released that they don't think single player story based games are worth investing in. WHICH IS INSANE TO ME. EA had them start developing the game one way. EA had them change development midway. EA had them remove all multiplayer pieces. EA cut funding to Bioware forcing them to make cuts in staff.

I guess if we say that a lot of the post is us disagreeing on how things are interpreted and not a misunderstanding of the source material then I can say my main problem with posts like this is that it targets the developers. The developers do seem to really love and care for their world and do want to do more, but they can't do it all. They can't just do everything they want. They have a parent company constantly controlling what they can and can not do. I could agree with a lot more posts if they actually targeted the company causing a lot of the problems, EA - WHO WE ALL ALREADY KNOW IS A SHIT MONEY HUNGRY COMPANY. Instead of the Devs who busted their asses for 10 years wanting to do more and being told to change it or scrap it at every turn.

Bioware writing team has a comfy, sheltered life and it shows

I'm sorry, but how come that the only people Inquisitor sent to look for Solas were Varric and Harding? How come that the only people recruited in 10 years of pursuing Solas were Neve and Rook? Do the writers understand that this is NOT how a serious effort looks like?

What about Leliana? Divine or not, she is still Sister Nightingale with an immense spywork. You'd think she won't mobilize everything she has to track Solas and his followers?

What about Josephine? What, she decided "nah, I'm done" and didn't use any of her diplomatic talents and connections to let the Inquisitor's agents have access, permissions or information they need?

What about Dorian? As a political figure, you'd think he will be the first Minrathous contact for the Inquisitor allies, the one arranging things and providing insights?

What about Cassandra and her Seekers? Isn't she interested in stopping another world-ending threat?

What about Sera and her sabotaging potential? If she organized the group of people for performing vigilante acts, people who are her eyes and ears, how come nobody from her group is helping with the effort?

I get it why Varric takes part in it - he knew Solas, the Inquisitor trusts him and his judgement, but for the game to imply that all the responsibility was lumped on Varric's shoulders is fucking disgraceful. I get it writers, Varric is popular character, and you would use him as bait to your heart's content, but the context you've created implies that Varric might have been the only one to take the threat seriously, while the Inquisitor and the rest were doing God knows what.

Varric should have been handing the Rook information on all the contacts they can recruit, all the useful agents, all the people to work with, not tell them to ask Neve because she might know someone because detective (Neve is a good character, but the fact that people who were supposed to spend 10 years chasing Solas look up to her for finding them contacts is appalling).

"Oh, but all these people were in the previous parts and we don't want to mention previous parts because muh new players" - well, you shot yourselves in the foot. Maybe, just maybe, you should have AT LEAST cared more about the choices made in DAI.

Congrats.

[queenvhagar]

You know, I think one of the reasons why Rhaenyra was so incompetent in handling political matters is because she never had to play the game of thrones properly. The premise of the game is that if you make a mistake, you die, and as long as you win, you have one more day of life. But our pampered princess could make mistakes, create scandals, and disrespect whoever she wanted, whenever and however she wanted, without any problem because her dear father was there to save her, mitigate the damages, or protect her. That's why, when Viserys dies and she has to take control, she fails. She can't control her husband; her few political victories were thanks to her husband, son, or Hand, and when she takes the capital, she doesn't know how to handle the people properly, and they rebel against her. She has a council full of incompetents who care more about their own interests than hers, and she doesn't know how to get rid of them because she's afraid of losing their support. Yet, the fans TB claim that she was going to be a legendary queen when, most likely, her Hand, husband, and advisors would have made the important decisions, as happened with Viserys. What do you think?

The problem with Rhaenyra comes down to a couple things, in my opinion.

First, she's never really meaningfully had to play the game of thrones due to her unique position in society as a Targaryen dragonrider, the king's favorite princess, and heir to the throne. This leads her to be sheltered from real world consequences to her actions. It reminds me a bit of the line from Succession about how their father made them a playground and they think it's the whole world. She lives in an incredibly privileged bubble, and within that bubble, protected by her father, she is emboldened to act how she likes with little thought or care to how others perceive her and how her actions would be interpreted by others. Once she marries Daemon, he becomes another reinforcement to that bubble. He encourages the idea that people should fear them and submit to them. Within their bubble, and due to their unique positions as Targaryen dragonriders with the king's favor, he suggests they make moves in the political game that silence dissidents and inspire fear. However, still these actions in the "game" are somewhat divorced from the actual game of thrones that others are playing, where if you lose you die.

And second, and in this I see her paralleled with Cersei... Rhaenyra thinks she's smarter than she is and that she can play the game better than anyone else. It's the classic Targaryen superiority complex coupled with privilege. She sees her unique position of power and uses it to "get away with" a lot of things. She knows she has influence over the king, and she uses it. She knows she has Daemon, and she uses him (as he uses her). But once again, the moves she's making are in this protected bubble. And even though she thinks she's truly getting away with all of the things she is, for good and for the long-term, the reality is really something different. Back to that quote of thinking the playground was the entire world... Rhaenyra thinks she's being clever in passing obvious bastards as trueborn heirs. She thinks she's being clever in leveraging her father's and Daemon's favor to her benefit. But she's not. She's detached from the political reality of the world. And by the time she's set to be handed the grand prize from her dad, there are actual real barriers to getting what she wants, because she finds that others have played the game better than her, and she's absolutely blindsided and shocked that this is the case. Because she never had to really, meaningfully play the game before, and she really doesn't understand how the real game is played and what the stakes are. She truly thought she was playing the real game perfectly for so long, and then she discovered that the actual game she needed to play was different and that others had played it better. Her actions during the Dance are her attempting to grasp the reality of the real game of thrones and failing to play it well, demonstrating her incompetence and resulting in her loss of power.

[vigilskeep]

in your opinion, how do you think veilguard delivers on the found family trope it was aiming for? on a scale of da2 (found family) - dai (coworkers), does it break the scale?

well, for the record, i DON’T think da2 was found family 😭 i know i’m a hater for this but i have never believed any of the dragon age parties are, as a whole, found families. that has never been how they come across to me

as for veilguard, i’m not sure. the team definitely interact a lot and get to know each other... i think i would have been more sold on “found family” if we had more scenes seeing them interact as a group rather than in individual pairs, if there were timeskips for them to get closer, maybe if they had stronger investment in, and opinions on, each other’s personal quests...?

i don’t think i quite believed in it and when rook used the word “family”—i think it was to mythal—i mostly found it startling. i brought these people together to save the world and i don’t believe i ever fully felt that they were sticking together for any other reason

maybe i’ll change my mind on a second run-through though! i’m trying to max out party banters a bit more and already getting a much better idea of the full set of dynamics. and i definitely like the idea of them as a found family and i won’t mind fic/fanon that pushes that because it doesn’t stretch what’s presented in canon in the way it does for the other games imo. i mean, they’re all actually friends, which is new and startling enough! i could for sure see them developing into found family if they stick together after the game, too... like i was saying about them maybe having to continue to defend the crossroads or something. and since there’s no real epilogue, that is a free playground right now

[operative-arrow]

Oh man I found this choice really agonizing! In my very first, gut-reaction run, I did choose Treviso, eventually. But the thing is that both choices are bad because people die either way. That's, in my opinion, part of what the game is saying. Sometimes all your options suck.

Among my reasons for choosing Treviso in that run were: (adding a cut just to not slap a big wall of text on everyone's feed)

A) that Minrathous has a powerful mage culture, and while some would likely be siding with the invaders, you'd have a sizeable resistance even outside the Shadows.

B) Tevinter also actually HAS a military. There's an army there, full of regular soldiers and mages alike. You've got magical constructs. You've got defenses.

C) the Archon's Palace is a giant floating defensive structure with MAGIC CANNONS we see firing immediately at the beginning of the game and is also usually full of the more powerful mages.

On the other hand you have:

A) Treviso is essentially a merchant, fully civilian, city. There's no military. Barely any guard.

B) If there's not a Circle in Treviso itself, there wouldn't be much magic support.

C) The Antaam is probably on the dragons side and the city already can't resist them without our help.

D)Assassins are not soldiers. as Teia says they aren't able to field a battalion but they protect Antiva their way. Which is fine, I guess, against political intrigue from other nations. But uh... This is not that.

Between these two cities Minrathous has a much better chance of holding out until the other location is safe. Plus, I sent our new Grey Warden at that point to the other city.

I know none of that matters in-game and that mechanically it really is just 'what city gets destroyed?' But those were the thoughts going through my head when actually engaging in the role play of the setting.

And, to be honest, you do split your team. It's presented as a binary choice but you still TRY to have it both ways. You try to save both. And it fails on both fronts. The dragon that you personally fight gets away, and the other city is destroyed.

So realistically your Rook has to deal with the regret of thinking if you had your whole team (minus Other City Resident) maybe you could have killed one right then. And that would have made the sacrifice that still happened actually mean something.

But you made a choice. And when I stepped into Minrathous the first time after my choice, and I saw the devastation of the Shadows' hideout? The blood where Bren was standing. Lorelei gone. (Not to mention the failed rescue attempt later) The carts full of Shadow Dragon bodies and the gallows in every corner of Docktown. I gasped. There was a real lament seeing this faction, one that I actually agree with far more than the Crows, destroyed. But for me, I was making the choice based more on the city, which one had more things protecting the regular people. The idea of a blighted canal system poisoning the water supply.

That probably got way too long and rambly, but the TLDR is that I think there is no right choice and if you genuinely engage in the role... It's a heavy one.

I feel like people who say saving Treviso is the obvious correct choice because Tevinter is full of slavers or whatever are missing the point. Neve admits Tevinter is broken, it is, but if you don't intervene it falls to its worst elements because almost everyone fighting for something better dies fighting. The reason we're shown Dock Town, a part of the city that is poor and desperate, is so we can see Tevinter isn't all evil magisters vying for power, and when the Venatori and others do terrible shit like summon demons, it's ordinary citizens caught in the middle who pay the price.

In Treviso, ordinary citizens pay the price for Antiva's lack of a real military force to defend them. The Crows are not enough just as the Shadows are not enough. Both cities suffer from leadership failing the common people. Both cities are deeply flawed, but they are worth saving, because they're someone's home.

[edenorisshitposting]

I'm seeing a lot of posts about how we should listen to Jewish voices when it comes to harry potter game antisemitism, but not a lot of posts by Jewish people about the harry potter game...

[lucabyte]

On autonomy, and what it means to be Obliged to Help.

Bonus:

[egophiliac]

I love ur twst pokemon au but I have exactly one complaint: Lilia doesn't have a Noivern

Mr pop rock bat without the sound bat??? Seems like a crime of some kind

(This is intended to be all lighthearted sorry if it comes off as otherwise!!!)

thanks! :> it's a boring reason, but I didn't give him one because it's not, like, a real AU or anything with full teams; it's just me drawing the guys with some pokemon according to a couple of arbitrary rules I made up! I wanted to keep it to just one or two each, and I was already pushing it by giving him three, so. 🤷 if you want him to have a Noivern, he can have a Noivern in your heart!

[dykedvonte]

One of my mutuals opinions is the "bro code" thing, that Curly is one of those guys who wouldn't care about the victim because the perpetrator is his friend and I'm really banging my head on the wall like that other anon. I've only played through the game once but Curly's behaviour/reactions etc read completely different from the "bro code" thing and I have to wonder if my mutual and I even played the same game.. like the constant digs at him from Jimmy, his body language in his face reveal and so on like you mentioned in your post. While this game is a little different obviously, it kind of reminded of a point in Alice Madness Returns that makes it very clear that Alice's pain blinded her to the abuse of the other children and her failure to act earlier because of it. Curly is guilty of a similar inaction but it doesn't change the fact he was a victim of Jimmy too. I don't think I can look at it any other way because both of these games have really stuck with me.

I genuinely think it really is the idea that people want a simple easy to blame problem and the idea that the only relatable victims of abuse are those that "surpass" it or do a lot to help others. When it comes to victims, especially those that don't fit the typical demographics, who either accidently perpetuate it, enable it or aren't ideal in some way shape or form, people jump to ignore what they went through as it's easier than dealing with those conflicting sentiments.

The bro-code conversation in Mouthwashing stems from a concept I generally dislike that there had to be something about Curly that made him meet or keep being friends with someone like Jimmy. I think people genuinely underestimate how many like decent and good people just know an asshole or are friends with someone who is really bad outside of their view/established dynamics. The game makes it clear none of the inaction against Jimmy is because of a lack of care, it is a lack of understanding from the privaleged postions they have as men to not have to worry about what Anya does/went through and the type of extremes men like Jimmy will go through to cover it up. They are all too preoccupied in their own strifes.

Another thing I see being oversaturated the idea that you have to be a freak, misanthrope or have a disorder to do the thing Jimmy does. The game is an escalation, it's a spiral that I don't see people comment on that Jimmy was not likely having the mood swings and episodes of rage/frustration we were seeing in the game. This is after they all start experiencing the worst moments in their lives that he got THAT openly bad. Of course, this is just my interpretation but much like in real life, people that go to extremes like that usually live mundane lives. It's a pressure cooker affect to where the stress made them pop. It's self inflicted but still the case.

I really think people need to be more willing to acknowledge that not everything needs to be an extreme or in black and white or easy to understand. It doesn't need to be happy or have an answer or solution, especially in the cases where the abused sadly helps perpetuate what they experience. It's not he should've known better from experience or shouldn't he have known what could've happened because victims tend to not like to think in matters of the worst. Not to mention, especially in cases of abuse where it feels so personally directed that you don't expect to happen to someone else.

[toxintouch]

I am headcanoning Mhin's monster transformation as being related to their emotions (as in: transformation can be triggered by very strong emotions) SO HARD lately.

It would add an extra layer to Vere constantly trying to piss them off that just ⋆˗ˋˏ Makes Sense ˎˊ˗⋆ to me.

Vere is intrigued by the MC, describing them as "not quite human, not quite monster".

Is it safe to assume that Vere felt similarly intrigued by Mhin? That he picked up on that, smelled it on Mhin when they first met, only to have Mhin stab him on sight? And now Vere is constantly pushing at their raw nerves to try and get a Monstrous reaction out of Mhin... It would add an extra layer to their dynamic that I love to consider.

Alternate theory: The transformation is more werewolf-esque and it's related to something that can be astronomically observed. & that's how Mhin started up their stargazing hobby?? But it's kinda cuter if they just enjoy that for it's own sake, amiright?

P.S. if ur wondering how Vere knows about the emotions trigger he knows bc he can Do That Thing

[dana-chan-the-control-brain]

Where's my unhinged Sun?

And not in a murder, manipulation yandere way.

I mean in a constantly screaming, foot in mouth, horribly passive aggressive, can't hide his emotions crying if a music shaker knocks over kinda way.

This man couldn't manipulate his way out of a paper bag.

His daycare only has ONE rule because he has no boundaries with anything and is just desperate for attention to be on him.

Where's my unhinged Sun?

The Sun that screams at you.

The Sun who, is very forward in his actions about what he wants even if he doesn't explicitly explain himself. (Constantly grabbing Gregory if he moves one foot away from him cus he doesn't want him to find the security desk or turn the lights off or leave his sight)

The Sun that throws children out of the Daycare if they piss him off to literally die.

He has the mental stability of a fainting goat.

I do think these traits are just a result of being abandoned for so long....

But I just think that he's always had these issues. So even if the story takes place before or after the events of Security Breach, I do think he should still exhibit some of those behaviors. Even if to a lesser extent.

I think the idea steamed from, "oh he works with children so he's good at manipulating kids to do what he needs them to do" hahahaha... No he's not. He can't hold Gregory in place for five seconds before he gets ignored and Gregory goes awall. And the messages in the dufflebags claim kids are scared of Sun as well as Moon. It's both of them.

Everytime I see Sun act with some level of level of passive agressive master manipulation like he's Kira or something....

Cool characterization. Appreciate it. Like to see a new side of him cus there's not much to work from in the games.

Not my Daycare Attendent tho.