#I want a game that tells a story that has good writing and good characters

[arcane-ish]

I don't think that "we were interested in those characters (ie [my guess] Caitlyn, Jinx, Warwick, Viktor)" implies "we don't think Vi is interesting".

My suspicion is more that they saw it "Vi got her turn and now we also want to do those other characters".

Take Silco for example. My guess is that they enjoyed writing him, but they felt that his story came to a natural and so they killed him and didn't feature him a ton in season 2. They had gotten what they wanted out of him. Silco fans clearly felt very differently. But in the end, it is their call to make.

Writers will always make decisions about who gets screentime and hero moments and badass lines. Them making Vi the character with the most focus in season 1 in itself is a favoritism choice because from an IP point of view, all these charactres are pre-existing and there is no practical reason to make Vi the point of view character of season 1 when in game is is equal to Caitlyn and to Ekko and to Viktor and to Bliktzcrank and to Camille and to 100 characters that didn't make it into the show.

They chose her because they like her (favoritism) and because they had potential. But they also like other charactres and see potential in other stories.

. If Vi is not interesting for you to explain to us more then why did you make us attached to her?

I find that an approach I can't get behind. The same logic could be used by the Silco fans to argue "you made us love Silco now you HAVE to make season 2 completely about him". What if fans have decided they have attached to Heimerdinger or to I dunno, the SevikaxSalo pairing and now the writers OWE them. (also worth nothing, it seems season 2 was written in 2019? before Arcane ever aired to the general public)

In the end to some extent it is normal that the writers want to make you care about all the characters, but they will make calls about what to focus on.

Don't get me wrong, I DEEPLY dislike many of their decisions. I for example DEEPLY think that doing the whole Viktor glorious evolution stuff and making it the main threat of Act 3 was a strategic mistake.

But at the same time, reading/listening to the interviews I understand that it's a story he really wanted to tell and it's one the artists put tons of creative effort in and some fans are into it and others (like me) aren't.

In the end, they get to have artistic freedom. (and I'm glad that he's at least smart enough to want to step away and have the next stories handled by other people)

they made her a dumbass character who only understands fighting,

That's not the vibe I got from season 2. I see a lot of traces of Vi having good instincts about people (ie following Singed, Remi's people). Act 1 seemed to be about the moral instincts vis a vis Cait.

Amanda Overton did an interview from which I got "We wanted to explore who Vi is if you take everything away from her/we see Vi's fundamental trait as being a protector and we wanted to explore who she is if she no longer has anybody to protect". To which I say ... okay... but it feels like the answer you came up with is something like "a shellshocked self destructive traumatized husk"?

I genuinely don't think that it's that much of a problem that they made Vi so heavily about physical fighting... it's that they did that and THEN made her fighting pretty useless? I wrote a lenthy analysis of the finale battle and I genuinely think that if Vi had gotten to be more heroic and successful, even just in a pure physical sense we would have walked away feeling a lot better about Vi. At least superficial satisfaction for "she's a figther and being a fighter is important and valuable and essential to this world".

Caitlyn and Ekko do heroic moves in the battle because of their smarts and their iron hard determination. Jinx and Jayce do heroic moves by reaching out to the baddie and doing heroic sacrifice. And what does Vi do?

I think it's one thing that let's say Vi fans wanted deep hurt-comfort exploration of Vi's trauma. I would say that was always unlikely to happen (I feel the same way when I see people the bemoan that the show wasn't about Zaun crushing Piltover in the dirt of Mel fans saying they wish the show had been only about schemes and politics and not action fighting). But imo they failed Vi even within the story they gave her.

I genuinely think Vi's story would have "rolled off the tongue" better if she had been down there with Caitlyn fighting back to back against Ambessa instead of Mel. Or if it had been her instead of Ekko smashing Viktor's mask.

Of it the show ended up on Vi finding the evidence that Jinx might still alive and not Caitlyn. (signalling = oh, Vi smart)

Or if the show had ended on episode 8. If it would have felt that the conclusion of her story is "okay, if you strip her of everthing, then Vi will choose life, symbolized by her having sex with Caitlyn". But instead we have:

1.) a whole episode where Vi does barely anything except watch in horror as other people die (after we already had that sort of in the Act 2 finale too)

2.) the looming idea that Jinx might be alive and okay ... so how would Vi feel about that? It leaves her story feeling unfinished in a particularly unsatifying way

(I compare that to Ekko for example, Ekko is strictly speaking in the same situation where if Jinx faked her death he doesn't know and his ending is very mornful and bittersweet-to-bitter. But I think it works better because his theme that arc was the whole "leaping forward while leaving something behind", so I personally walk away with a slighty better feeling for Ekko, like he would understand. But of course he also got "wins". He smashes Viktor's mask. He talks Jinx out of suicide. He is just a supporting character (outside of maybe episode 7), but you can still feel good about his character).

Vi was not devoid of good character moments. Her standing up to Cait at the end of Act 1 was an important moment. Her trusting Jinx and about Vanderwick was an important moment. The problem is that Act 3 doesn't manage to tie to together in a way that is satisfying.

"Dirt under your nails" isn't without merit. I guess it's supposed to signal to us, that no matter what you take away from Vi (original family, Jinx, Vanderwick) she will keep on fighting? But it just feels kind of meh, especially with how ill fitting she was in the big action finale.

I'm afraid the same writers will be writing the next shows.

They won't. For one supposedly the Noxus show has been in the works for a year while Arcane was still being finished. And Christian Linke had talked explicitly about how he wanted to find new people to tell those other stories. That they think of the new shows as representing the regions and him and Alex were the right people for Piltover and Zaun but they need to find somebody else for Noxus for example.

I wouldn't rule out that he might do another show (he has mentioned somewhere that he would like to maybe do more with the more whimsical parts of the IP, but to be honest, other parts of statement sound like they were pretty exhausted [and that was before the criticism over the finale was in] )

My guess is the Noxus thing will have a different creative team with their own priorities. (that said this approach with a multi character focus might by a likely side effect of League and of how League is structured).

For what it's worth, I don't think you and I ware even that much in disagreement about the flaws of season 2. i just don't think that switching Vi to supporting was necessary impossible to pull off. I think there's plenty of ways that could have been done and still have left her with a story that makes the fans feel reasonably good about it.

(for what it's worth, I think Warwick's story was also extremely messy and similarly jumbled as Vi's even thought that was one of the new stories they wanted to tell. Or the Commander Caitlyn story was introduced with so much pomp in Act 1, I wouldn't say it was completely fumbled [it ends with Caitlyn's badass sacrifice of her eye], but I would argue it still wasn't as emotionally resonant as it could have been, this is my read of Jinx's ending btw and why I think it is meant to be uplifting by the writers [mileage may vary])

Vi season 2

Saying this about Vi, considering the fact that fundamentally the very basis of the show is about the relationship between her and Jinx is INSANE. The description for the show literally tells the audience it’s a story about two sisters and because the writers grew uninterested with one of them, they sidelined her.

I’m happy she got her happy ending, and i do believe that her writing remained consistent, my biggest issue with Vi this season was that she did feel sidelined, THAT was very obvious. I love her as a character outside of her relationship with Jinx and Caitlyn, however we didn’t get to see that this season.

Regardless if the ending stayed the same, Jinx and Vi barely interacting in the last act felt off. It’s really disappointing to see that one of the shows main and most important characters get sidelined in favour of others

anyway yeah there’s my rant bc seeing this shit on twitter has been pissing me off

[p0rchc0ll4ps3]

I'm going to be completely goddamned honest with you here

If it's not set in elysium, I do not fucking want it

[simcardiac-arrested]

no actually I’d like to hear your thoughts on the isat ending

Like i said it felt really tropey and by that i meant that it’s just Everything Good Happens forever and…..that’s it ? like idk we were building up to this huge catharsis sort of thing and then we got to it and it was so sudden and not a good payoff and just kind of nothingburger of an ending . the fact that everyone just forgives siffrin bothers me, or at least the fact that they don’t confront them about the shit they’ve said and done. call me a mental illness villainizer but i think if you’re a fucking asshole and doing the most insensitive things to the people you care about then hey, i think those ppl have a right to fucking tell you off for it. likeeee idk being at your lowest point …… not an excuse …. not feeling it chief ……. like sure the message is to move past your mistakes or whatever but ? that doesn’t mean just getting away with it ??? and i just really don’t understand Why everyone forgives him. honestly at the end of the day the ending is just one problem, the root of which are the characters. everyone feels like trope cardboard cutouts. oh, this is the smart one. this is the smol bean. this is the himbo. and they all care for each other btw. Did u hear that? they all care for each other. we’re not really going to explain to you why these people are so close or what they went through together but just trust me man they’re sooo found famy. like …. okay. i’ve played 30 hours of this game and not once did i buy that any of the characters really cared about each other. like??? why???? You’re telling me everyone super cares about siffrin even though they barely know them?? you’re telling me siffrin cares about everyone sooo much even though he never even bothered to find out their problems before ? Wat ? and this just breaks the ending more because literally whyyy do these people care about him so bad. and then it’s just whyyy does siffrin Have to tell them anything he doesn’t even seem to know them that well. everyone feels like colleagues and Just Friends at best. and so the ending just seems really forced. like it was written by that type of tumblr user who’s always talking about aww why does the found family have to break up after the end of the journey :( which is like fiiiiine. i guess. but u guys know that u have to build up to it right?? you can’t just tell me they’re Family Members(tm) 102829 times and that they super care about each other source: trust. you can’t just do that and then expect me to believe it ….. It feels unearned. the ending feels unearned and i don’ttttt understand what i’m supposed to take away from it . that it’s ok to fuck people up because you’re traumatized and insecure?? that you have to talk about your deepest problems with people you barely know??? i just dont know. Like i said if im being honest the problems with this game’s writing are more than just the ending, it just stands out so much because there’s a lot of build up and then just …… That

[ieidolon]

now that i'm playing dragon age: veilguard i understand hbomberguy so much better. think i could probably do a 3.5 hours long video called "dragon age: the veilguard is FINE and here's why"

[perenlop]

this is gonna sound so backhanded but after 3 letdowns in a row from pokemon (followed by a game which isnt terrible but i dislike because of how much it fucked up the plot of sm), then a game that i genuinely really love and want more in the style of and largely because of how it deviates from the main series, im genuinely so shocked that i love scarlet and violet as much as i do. like when i was going through that tutorial i was just cautious and waiting for the other show to drop and be bored at best, but like, graphic glitches aside, it never came. it stayed really fun and charming

[racke7]

Me vs FF14 part... 2?

It's taken me pretty much three full days of running from cutscene to cutscene. But I've finally reached Heavensward.

And like... on some level? I'm kind of offended?

Like, a part of me genuinely wants to replay the entire game from the start "as something else" (different main-class, different race, different starting-area, whichever), because the dungeon-queuing system is actually really fun when you start to Understand it.

As in, FF14 has somehow made an MMO that has almost eliminated the feeling that it is a level-grind? Partially? It's turned the whole thing into a surprisingly comfortable level of (limited, but genuine) social interaction.

To the point where even someone who isn't obsessively grind-focused like me, can genuinely enjoy themselves. Just queuing up for dungeons, Hunting some bounties, and-...

And then FF14 has so many fucking quests that it literally chokes the life out of the gameplay.

As an example, one of their biggest dungeon-draws (bcs high rewards) is a quest that almost everyone hates playing. Because doing that dungeon means watching literally eighteen minutes of unskippable cutscenes.

And that's with them having reduced the amount of cutscenes in that dungeon, because the players complained so much about them.

Like... I'd be perfectly happy replaying the game from the start with a different character, even knowing that leveling isn't some kind of pain-free thing. But the thought of having to restart the fucking Main-Quest? Of having to spend literal days just running back-and-forth to cutscenes?

I'm currently feeling a bit burned-out as a result of the binge I went on to get here, but I'm pretty damn sure that I wouldn't replay this fucking thing even if you paid me for it.

(And, of course, Heavensward also has a Main-Quest continuation that you have to follow. And now I'm not even allowed to fly everywhere to cut down on the "running back-and-forth"-part of my complaints. Not until they arbitrarily allow me to discover flight for the new areas, by going through even more of the Main-Quest.)

(Not to mention that now I have to go back and do even more Class-quests, with their own cutscenes, in order to unlock a bunch of skills.)

(I'm very fond of the "the church is evil because it doesn't let you fuck dragons"-meme, and I'm very much seeing it. But like... come the fuck on. Why is this MMO a feature-length movie-series? Why can't I just play the game and have fun?)

[hecksupremechips]

Girl like. The reason he said "this is how it should be" and faced death with a smile....is cuz he wanted to die. For 2 years he sat there thinking he was worthless and deserved to die. If he hadn’t be shot, his death would’ve been suicide, he was fully planning to die in a gutter somewhere undetected. When saying "this is how it should be" hes literally saying "don’t cry because I’m dying, my death is a good thing actually because I fucking suck and you are better off without me". I don’t think that’s badass even slightly, it’s actually really sad and really shitty. Shinjiro is so convinced that he deserves to die and hates the idea of anyone giving a shit about him because he literally can’t wrap his mind around the idea that he will be missed when he’s gone, that his death is a bad thing actually. And his last words were meant to be comforting because he fully did not intend for anyone to be there when he died, he intended to die alone, so he says them as a reminder that he’s not worth crying over

Personally, if it were me, if I was holding my dying best friend in my arms who was deeply depressed and suicidal and he said "this is how it should be" uh. I wouldn’t admire him for it??? Like am I losing my mind when I say the way this game handles Shinji is bad or is anyone else seeing this too 😰

[cinnabeat]

im still mad about the kairi thing btw like so/kai is good dont get me wrong but i wouldnt be mad about like literally ANY of it if kairi had literally any development herself or any kind of friendship with sora like girl has been absent character development wise since fucking kh2 and youre gonna look me in the eye and tell me kairi is still soras most important person?? with what evidence bitch

[archaeren]

How I learned to write smarter, not harder

(aka, how to write when you're hella ADHD lol)

A reader commented on my current long fic asking how I write so well. I replied with an essay of my honestly pretty non-standard writing advice (that they probably didn't actually want lol) Now I'm gonna share it with you guys and hopefully there's a few of you out there who will benefit from my past mistakes and find some useful advice in here. XD Since I started doing this stuff, which are all pretty easy changes to absorb into your process if you want to try them, I now almost never get writer's block.

The text of the original reply is indented, and I've added some additional commentary to expand upon and clarify some of the concepts.

As for writing well, I usually attribute it to the fact that I spent roughly four years in my late teens/early 20s writing text roleplay with a friend for hours every single day. Aside from the constant practice that provided, having a live audience immediately reacting to everything I wrote made me think a lot about how to make as many sentences as possible have maximum impact so that I could get that kind of fun reaction. (Which is another reason why comments like yours are so valuable to fanfic writers! <3) The other factors that have improved my writing are thus: 1. Writing nonlinearly. I used to write a whole story in order, from the first sentence onward. If there was a part I was excited to write, I slogged through everything to get there, thinking that it would be my reward once I finished everything that led up to that. It never worked. XD It was miserable. By the time I got to the part I wanted to write, I had beaten the scene to death in my head imagining all the ways I could write it, and it a) no longer interested me and b) could not live up to my expectations because I couldn't remember all my ideas I'd had for writing it. The scene came out mediocre and so did everything leading up to it. Since then, I learned through working on VN writing (I co-own a game studio and we have some visual novels that I write for) that I don't have to write linearly. If I'm inspired to write a scene, I just write it immediately. It usually comes out pretty good even in a first draft! But then I also have it for if I get more ideas for that scene later, and I can just edit them in. The scenes come out MUCH stronger because of this. And you know what else I discovered? Those scenes I slogged through before weren't scenes I had no inspiration for, I just didn't have any inspiration for them in that moment! I can't tell you how many times there was a scene I had no interest in writing, and then a week later I'd get struck by the perfect inspiration for it! Those are scenes I would have done a very mediocre job on, and now they can be some of the most powerful scenes because I gave them time to marinate. Inspiration isn't always linear, so writing doesn't have to be either!

Some people are the type that joyfully write linearly. I have a friend like this--she picks up the characters and just continues playing out the next scene. Her story progresses through the entire day-by-day lives of the characters; it never timeskips more than a few hours. She started writing and posting just eight months ago, she's about an eighth of the way through her planned fic timeline, and the content she has so far posted to AO3 for it is already 450,000 words long. But most of us are normal humans. We're not, for the most part, wired to create linearly. We consume linearly, we experience linearly, so we assume we must also create linearly. But actually, a lot of us really suffer from trying to force ourselves to create this way, and we might not even realize it. If you're the kind of person who thinks you need to carrot-on-a-stick yourself into writing by saving the fun part for when you finally write everything that happens before it: Stop. You're probably not a linear writer. You're making yourself suffer for no reason and your writing is probably suffering for it. At least give nonlinear writing a try before you assume you can't write if you're not baiting or forcing yourself into it!! Remember: Writing is fun. You do this because it's fun, because it's your hobby. If you're miserable 80% of the time you're doing it, you're probably doing it wrong!

2. Rereading my own work. I used to hate reading my own work. I wouldn't even edit it usually. I would write it and slap it online and try not to look at it again. XD Writing nonlinearly forced me to start rereading because I needed to make sure scenes connected together naturally and it also made it easier to get into the headspace of the story to keep writing and fill in the blanks and get new inspiration. Doing this built the editing process into my writing process--I would read a scene to get back in the headspace, dislike what I had written, and just clean it up on the fly. I still never ever sit down to 'edit' my work. I just reread it to prep for writing and it ends up editing itself. Many many scenes in this fic I have read probably a dozen times or more! (And now, I can actually reread my own work for enjoyment!) Another thing I found from doing this that it became easy to see patterns and themes in my work and strengthen them. Foreshadowing became easy. Setting up for jokes or plot points became easy. I didn't have to plan out my story in advance or write an outline, because the scenes themselves because a sort of living outline on their own. (Yes, despite all the foreshadowing and recurring thematic elements and secret hidden meanings sprinkled throughout this story, it actually never had an outline or a plan for any of that. It's all a natural byproduct of writing nonlinearly and rereading.)

Unpopular writing opinion time: You don't need to make a detailed outline.

Some people thrive on having an outline and planning out every detail before they sit down to write. But I know for a lot of us, we don't know how to write an outline or how to use it once we've written it. The idea of making one is daunting, and the advice that it's the only way to write or beat writer's block is demoralizing. So let me explain how I approach "outlining" which isn't really outlining at all.

I write in a Notion table, where every scene is a separate table entry and the scene is written in the page inside that entry. I do this because it makes writing nonlinearly VASTLY more intuitive and straightforward than writing in a single document. (If you're familiar with Notion, this probably makes perfect sense to you. If you're not, imagine something a little like a more contained Google Sheets, but every row has a title cell that opens into a unique Google Doc when you click on it. And it's not as slow and clunky as the Google suite lol) (Edit from the future: I answered an ask with more explanation on how I use Notion for non-linear writing here.) When I sit down to begin a new fic idea, I make a quick entry in the table for every scene I already know I'll want or need, with the entries titled with a couple words or a sentence that describes what will be in that scene so I'll remember it later. Basically, it's the most absolute bare-bones skeleton of what I vaguely know will probably happen in the story.

Then I start writing, wherever I want in the list. As I write, ideas for new scenes and new connections and themes will emerge over time, and I'll just slot them in between the original entries wherever they naturally fit, rearranging as necessary, so that I won't forget about them later when I'm ready to write them. As an example, my current long fic started with a list of roughly 35 scenes that I knew I wanted or needed, for a fic that will probably be around 100k words (which I didn't know at the time haha). As of this writing, it has expanded to 129 scenes. And since I write them directly in the page entries for the table, the fic is actually its own outline, without any additional effort on my part. As I said in the comment reply--a living outline!

This also made it easier to let go of the notion that I had to write something exactly right the first time. (People always say you should do this, but how many of us do? It's harder than it sounds! I didn't want to commit to editing later! I didn't want to reread my work! XD) I know I'm going to edit it naturally anyway, so I can feel okay giving myself permission to just write it approximately right and I can fix it later. And what I found from that was that sometimes what I believed was kind of meh when I wrote it was actually totally fine when I read it later! Sometimes the internal critic is actually wrong. 3. Marinating in the headspace of the story. For the first two months I worked on [fic], I did not consume any media other than [fandom the fic is in]. I didn't watch, read, or play anything else. Not even mobile games. (And there wasn't really much fan content for [fandom] to consume either. Still isn't, really. XD) This basically forced me to treat writing my story as my only source of entertainment, and kept me from getting distracted or inspired to write other ideas and abandon this one.

As an aside, I don't think this is a necessary step for writing, but if you really want to be productive in a short burst, I do highly recommend going on a media consumption hiatus. Not forever, obviously! Consuming media is a valuable tool for new inspiration, and reading other's work (both good and bad, as long as you think critically to identify the differences!) is an invaluable resource for improving your writing.

When I write, I usually lay down, close my eyes, and play the scene I'm interested in writing in my head. I even take a ten-minute nap now and then during this process. (I find being in a state of partial drowsiness, but not outright sleepiness, makes writing easier and better. Sleep helps the brain process and make connections!) Then I roll over to the laptop next to me and type up whatever I felt like worked for the scene. This may mean I write half a sentence at a time between intervals of closed-eye-time XD

People always say if you're stuck, you need to outline.

What they actually mean by that (whether they realize it or not) is that if you're stuck, you need to brainstorm. You need to marinate. You don't need to plan what you're doing, you just need to give yourself time to think about it!

What's another framing for brainstorming for your fic? Fantasizing about it! Planning is work, but fantasizing isn't.

You're already fantasizing about it, right? That's why you're writing it. Just direct that effort toward the scenes you're trying to write next! Close your eyes, lay back, and fantasize what the characters do and how they react.

And then quickly note down your inspirations so you don't forget, haha.

And if a scene is so boring to you that even fantasizing about it sucks--it's probably a bad scene.

If it's boring to write, it's going to be boring to read. Ask yourself why you wanted that scene. Is it even necessary? Can you cut it? Can you replace it with a different scene that serves the same purpose but approaches the problem from a different angle? If you can't remove the troublesome scene, what can you change about it that would make it interesting or exciting for you to write?

And I can't write sitting up to save my damn life. It's like my brain just stops working if I have to sit in a chair and stare at a computer screen. I need to be able to lie down, even if I don't use it! Talking walks and swinging in a hammock are also fantastic places to get scene ideas worked out, because the rhythmic motion also helps our brain process. It's just a little harder to work on a laptop in those scenarios. XD

In conclusion: Writing nonlinearly is an amazing tool for kicking writer's block to the curb. There's almost always some scene you'll want to write. If there isn't, you need to re-read or marinate.

Or you need to use the bathroom, eat something, or sleep. XD Seriously, if you're that stuck, assess your current physical condition. You might just be unable to focus because you're uncomfortable and you haven't realized it yet.

Anyway! I hope that was helpful, or at least interesting! XD Sorry again for the text wall. (I think this is the longest comment reply I've ever written!)

And same to you guys on tumblr--I hope this was helpful or at least interesting. XD Reblogs appreciated if so! (Maybe it'll help someone else!)

[simpingland]

Req: Can you write something with Ewan Mitchell and his co-star (pronounced feminine) where they are on the set of season 2 and how he is surprised by every performances that fem gives (Fem's character is bad and perverse), since since the recordings of season one he was already staring at her surprised by her actings and now with Season 2 he wants to spend more time with her, plus he likes her.

The Rehearsal// Ewan Mitchell x Fem!actress

Summary: Ewan is a method actor and it has been working fine for him. But he regrets this decision when season 2 of HOTD starts with a love scene, being partner with a lovely talented actress who propaply hates him and his mathods. But nothing is better than asking for help when one needs it, right?

|~~~~~~~~~~~~~~~~~~~~~~~|

Ewan watched from the monitor, patch removed but wig still on, your close-up was impressive. One look at you and you could see all the ambitions that were going through your character's mind, and he himself regretted not having told you yet. The good news was that filming for season two had just begun, and in this new season, Ewan had the opportunity to do scenes only with you.

They shouted cut, and you immediately broke into a smile, laughing after such an intense scene. You received compliments as you were photographed to keep the raccord straight.

"Congratulations, that's a good start," the director said to you. "Remember you have a special sequence tomorrow, get a good rest."

Yes, you remembered. And Tom (who played your brother Aegon) smiled mischievously at you. It was a kissing scene with Ewan, with whom you had barely exchanged a word since the moment you were confirmed as part of the cast, a year and a half ago. You only spoke a little at the audition, which was a chemistry test, and he was a sweet, unassuming guy. When he was announced as the official actor of Aemond... it was something different. You didn't interact in the scenes in the first season, his scenes were shared more with Fabien and Tom, while you had shared scenes with Olivia and Phia (Alicent and Helaena). The chemistry your characters were supposed to have was only hinted by the placement of you both in the scene or montages of shots that you only saw once the series was released. And in the meantime, Ewan had stayed away from all those with whom he didn't share any dialogue, with the excuse of staying focused on his character. Tom had already told you numerous times that Ewan thought you were a fantastic actress, but you always responded the same way.

"If he does, let him tell me so. Then I'll be flattered.”

When the script for the second season came, both of you, in your respective homes, had your hearts skipped a beat. Your character would approach Aemond in the throne room in the middle of the night. And there they not only talk, but share a kiss that promises to go further in the following seasons. Aemond confessed his love for your character, and being that it was a story taken from the world of Game of Thrones, it was sure to end in much more intimate scenes. Normal for actors and comfortable for a cast that was so friendly and close. But with Ewan being so distant and serious? It was difficult. You didn't even dare to call him. Nor did he call you. What you did do was call Tom.

"She hasn't spoken to me once since we started filming. I've seen her look at me sometimes, like she's trying to talk to me but then, before I could say a word, she's gone quiet again. Tom...I don't think I should take being a method actor so seriously," he said to the other actor.

"It amuses me immensely to be the connecting point for both of you. Don't worry, Ewan, she's a sweetheart, and very understanding. She knows that everyone has their own procedure. So if she has respected your method, you should respect hers."

"And what is her procedure?"

"According to Phia, she loves to walk back and forth repeating her lines in a thousand ways."

Right, Ewan saw the video Phia sent around the group so everyone could see how lunatic you looked. And even there, after discovering you were being filmed, you smiled tenderly at Phia asking her to stop. What else would he have missed since you weren't talking?

You had already taken off your wig, your hair was loose and your dress had been off for quite a while. You were waiting to take off your make-up when your trailer was called. You were expecting anyone, happy to have any interaction with the wonderful team around you, but when you saw Ewan, the smile must have dropped a little.

"Sorry if I'm intruding. Is it late?" Ewan asked you as he saw your friendly greeting getting lost in the air.

It wasn't dark yet, and the next day's filming was starting early, so you genuinely didn't know what to say to him.

"Well... I have to finish off some of the lines for tomorrow.’

The lines you had to say with him, and he knew that. But since that wasn't an invitation, Ewan understood instantly and nodded.

"Well, I just wanted to tell you...it's been an awesome first day of shooting for you. It's no wonder you're a fan favorite."

That made you blush.

"Well, that means a lot coming from you."

He smiled sheepishly at you, you were taller than he was, standing on the trailer and he was on the grass a few stairs down. And yet he seemed way too big.

"I promise I'll be on time tomorrow so we'll have plenty of time to rehearse," he said, trying to get out of the strange conversation he had started.

You nodded and watched as he walked away, the patch in his hand and taking off his seatbelts. Did he come with the intention of chatting? My God, you'd had a chance to talk at length with your fellow cast member and you'd wasted it? You needed to go over the scene as much as possible!

"Ewan!" You called out to him, hanging almost on your doorstep, he turned with that agility that is so engaging on screen (and in person). "Are you done for the day?"

"I've got to get out of my costume. But...yes, I'm done."

"Would you mind..." you mumbled in an exaggeratedly loud voice for him to hear. How embarrassing. "Would you mind dropping by again to rehearse?"

Ewan stood still for a second. He watched you from afar, so affectionate and shy, totally contrary to your character, and felt a deep tenderness.

"I'll be back in half an hour," he promised you.

You looked forward to it, and you'd be lying if you didn't say that you'd put your make-up back on a bit. Ewan, on the other hand, was hurrying more than usual to remove his own clothes, forgetting to remove his fake scars in the rush that followed him. He was punctual, and in thirty and a half minutes, he was knocking on your door again.

"I really appreciate you doing this, Ewan," you said as he climbed into your trailer.

"Don't worry, it's going to be fun."

You looked at each other for a second, smiling, kind of gawking, which was nothing like the scene you had to recreate.

"How do you prepare for a scene?" You ask.

"I listen to some music. But I want to try what you do. "

He looked at you expectantly, and you suddenly felt embarrassed. Like the girls at the school function.

"So... I close my eyes, and I create a map where everything looks a little bit like the set."

"And what do we choose to be the throne?" Ewan smiled, which made you blush even more.

"Well... "There was a fully finished teacup, with the inelegantly squeezed bag next to it, dripping. You'd forgotten to clean it up completely. "That cup itself."

Ewan frowned slightly, teasingly, and nodded. The next step for you was harder to explain.

"Now, Ewan, I need some space."

He sat down on your couch, script to one side, the bastard having already memorized it all. And from there he watched live what he'd been craving for months, watching you pace back and forth. You read the annotations and your lines.

"They will never forgive our family for what I did," Ewan replied, intoning in the silky voice he gave Aemond.

"If it's any consolation, I doubt they would be willing to let us live even if we had given them the throne willingly, Aemond..." though you paced, your hands and gestures maintained theatricality, and you repeated the phrase three more times, all with trapped deliberation. "This pantomime of repentance can only convince Mother...but not me."

"What pantomime do you mean?" replied Aemond.

Then your character stopped looking at Aemond to stare at the Throne. In this case you stopped to stare at the ugly teacup. You had to hold back a smile. Ewan looked at it too.

"It's impossible to fool you, it always has been." Ewan got up from the sofa and approached you, as Aemond does with your character. "It is a crude, chaotic and ugly object, but always that which I have desired."

Then the laughter you'd been holding back escaped, unable to think of the mug as anything else. And Ewan laughed with you, all the tension disappearing instantly. Now he could understand the affection with which everyone spoke of you.

"I'm sorry, really," you said, getting serious again. "I'm sorry."

"Don't apologise, this is fun. I'm going to try your method. Shall we close our eyes?"

"That's right."

You closed them at the same time, thinking about the huge room, illuminated by a silver light that simulated the moon. And after a few seconds, Ewan opened his eyes to look at you. Although you didn't have your white hair, or the elegant dress, your eyes were the same, as beautiful and bright as they were behind the cameras. And he had the privilege of being the focus of your attention and having them in the foreground.

"Though I think I was always more subtle with another of my longings..." he whispered close to your lips.

"That you tried at least" you whispered back.

"When I get the throne I'll need someone as sharp as you to accompany me. There is no woman in the seven kingdoms who compares to you."

Then came the kiss. You looked into Ewan's eyes, up his nose and down to his lips. What was there left to throw yourself? Not much, but with him being so reclusive, with that being one of the few times you spoke to each other, it felt strange to pounce on him without consent. So you walked away, leaving the scene there.

"We can work this out with the director and the intimacy coordinator, if you like," Ewan suggested, a little flushed and extremely sweet.

You poured him a cup of tea while you discussed the romance that your characters might have developed over the years that the series skips. You imagined romantic scenes that might have led up to that kiss and concluded that they were a toxic couple, but possibly better than Rhaenyra and Daemon.

"You know, I love the way you act and I love that I discovered your process," he confessed. "I think the admiration part is not going to be too hard to act out."

"Oh...my process is really ridiculous, everyone laughs at me. I'm glad it at least works. But it gives me a hard time at auditions," you laughed nervously.

"Well, it's true that it's fun to watch. But it's certainly worth it. I don't think you have anything to envy the others, you're...magnetic." He said it with a seriousness that moved you, adding to his intense gaze. "I'm sorry I wasn't smart enough to tell you sooner, because I've been thinking about it since the day they put me in the same room you were in, back at the audition.”

You froze a little, so you just said what you felt in the simplest way and with the most honest smile.

"Thank you."

Ewan took the last sip of his tea and before he left you remembered one of the thousand questions you had for him.

"Is there a reason you haven't removed the scar? Something to do with method acting?"

"Scar?"

You touched his cheek, where the scar began, and Ewan understood instantly.

"Ah, gee, I completely forgot to go through makeup. I'll get a telling off tomorrow."

"Not if you sleep on it until tomorrow" you joked. "Let me help you, I love fake wounds."

You stood next to him, towering over him a little, and lifted the thin layer of silicone with the delicacy you had seen in make-up artists. You were envious of the woman who was in charge of characterising a person as curiously attractive as Ewan. He also smelled exaggeratedly good.

When you took it off, you threw it into the creepy teacup from earlier.

"I've almost run out from, the costume department before," he justified himself. You took the opportunity to wipe that part of her face with a makeup remover wipe. "I usually do this part myself..."

"I know, but I like it..."

And while you were stroking his face with the excuse of cleaning it, Ewan was watching your lips, and didn't notice that you had noticed. You pushed the wipe away, stroking his chin, and at the same time, you both pressed your lips together. A strange kiss, something special, sweet and soft. You stretched it out, standing almost still, afraid of what would happen if you broke apart. When you finally did, you looked at each other with a look of confusion, though neither you nor Ewan pulled away.

It was a dangerous idea, he was your partner, and you had been unprofessional. You broke away.

"I think you should rest. I've distracted you too much." Your tone came out agitated and Ewan rose slowly.

"No, it's all right. I liked it. I liked everything. Didn't you?" He had emphasised the word 'everything' and was looking at you with lambent eyes.

"Yes...I loved being with you."

He said goodbye with a smile of his, and you bowed at your door like a little girl. Most of the team had already gone to rest and you barely noticed.

You had to put on more concealer than usual the next day because of the lack of sleep you'd had from that strange kiss. Ewan had kept his promise and had arrived a good while earlier to re-rehearse the scene. You did it without the kiss or the lights, just with the director's instructions and with your cheeks flushed as you exchanged glances.

"Did you practice with the kiss?" the intimacy coordinator asked you.

You were completely silent. Ewan answered for you.

"Not really, maybe it's better to give a first kiss at the moment of the shot. More realism."

"Well, then I guess you've worked out the sexual tension and dynamics of your characters."

Ewan nodded and smiled, which made you smile. Had he put hours of sleep into your little meeting yesterday? Yes, he had, and he told the woman who was putting on his scar who asked him who had removed it the day before. When you returned to the set, lights on, costumes on, cameras rolling, Ewan looked at you in the distance, asking you with his eyes if you were ready. You nodded with a shy smile, and began to act when they shouted action.

Aemond, still dressed and coming from the castle library, walked into the empty throne room to watch you. You walked behind him, in a smart dressing gown, your hair loose and trying uselessly not to make a sound. Aemond then spoke aloud.

"They will never forgive our family for what I did."

You approached Ewan, who still wouldn't look at you.

"If it's any consolation, I doubt they would be willing to let us live even if we had given them the throne willingly, Aemond..." You leaned into him a little, as the director had recommended. He was so tall and so tense that you felt as safe as if you were leaning against a stone pillar. "This pantomime of repentance can only convince Mother...but not me." Then Aemond would look down to see you out of the corner of his eye, which made your character - and you - nervous.

"What pantomime do you mean?"

Then you looked at the throne, now there was no laughter to disturb you, only the terrible seat of swords before you. And Aemond was looking at it too.

"It's impossible to fool you, it always has been. It is a brutish, chaotic, ugly object, but always that which I have desired."

After a pause, he turned fully around to look at you, his height becoming primordial in that short distance. In that low light, Ewan's visible eye looked into your eyes, dropping to your lips subtly.

"Though I think I was always more subtle with another of my longings..." he whispered in his velvety tone.

"That you tried at least" you replied trying to keep your composure. If they knew how hard you were struggling not to fall to your knees at that moment they would have nominated you for an Emmy by now.

"When I get the throne I'll need someone as clever as you to accompany me. There is no woman in the seven kingdoms who compares to you."

He stroked your face gently, something that coming from Ewan was tender and expected, immensely pleasing, but then you remembered that Aemond could never be so gentle in the face of his urges, and you let your own out. You pressed yourself against him, pressing your lips together with all the assurance you had longed for the night before. You could feel Ewan intensify your kiss even more, placing his hand on your neck. All the possible kisses that had been going on in your head during the night were now dwarfed by the kiss that was happening right there. As fierce as your characters, with the longing you had just discovered that you and Ewan had shared for a year and a half.

It was only when they shouted 'cut' that you broke apart, catching your breath and barely breaking away. Some applause, chatter and comments from the team, you could hear little of what they were saying. You pulled away flushed, laughing at the sudden intensity. You looked at the director as Ewan smoothed his jacket.

"Let's look at the shot, I think it was simply perfect, congratulations."

Another round of applause, and you felt Ewan brush your unruly hair out of your face, stroking it as he ruffled your hair.

"What a pity not to have to repeat this scene..." He confessed.

"That's the thing about being so talented," you joked.

"Obviously..." he removed his patch and turned back to you to ask in a quieter voice, "although I'd love to have more private acting classes with you..."

You smiled at the hint.

"I'll give them to you if in exchange you let me remove your fake scars again."

"Deal."

[eglerieth]

Some of y’all are not appreciating Bilbo Baggins enough. I am here to remedy that. This guy has:

• somehow managed to establish himself as a respectable, staid hobbit by the time he was fifty, despite being both a grandson of Bullroarer Took and the Shire champion of pretty much every aiming-game known to hobbitkind

• had an in-depth debate on pleasantries with a random guy passing by in the street, who turned out to be GANDALF

• collapsed in front of his own fire shaking and muttering “struck by lightning” over and over again in response to hearing about dragons and danger

• mind you, this was after he screamed loud enough to startle a roomful of Dwarves

• signed up for a dangerous quest completely outside of his league out of spite

• when told to scout out a mysterious light, saw some trolls, and instead of reporting back with the information, decided to PICK THE TROLLS POCKET

• arrived in Rivendell for the first time and said it “smelled like elves”

• upon meeting a strange creature that visibly wanted to eat him, he decided to play a riddle game with him- and guessed pretty much every one, and made up his own riddles, afraid and alone, that not only were good and full of linguistic puns, but actually stumped the other guy- AND THEN CHEATED AND WON WITH A QUESTION

• showed mercy to said strange creature who wanted to kill him, and was now standing between him and freedom

• eavesdropped on the dwarves arguing over whether to try to save him, then popped up casually smack in the middle of them just as they were debating

• somehow managed to sleep like a log at the really really high eyrie full of wild predators

• found himself in a bad situation, said eff it, and turned around and antagonized and fought off an insane amount of man eating spiders, like enough of them that fifty was a small portion, by singing at them with incredibly complex and punny insulting songs composed on the spot, while simultaneously slaying them in multitudes despite having zero combat training. Seriously, we don’t discuss enough how epic the spider scene is.

• broke a company of dwarves out of the very secure prison of the Elvenking by inventing white water rafting with barrels

• charmed his way out of being eaten by a dragon

• stole the frickin Arkenstone from the guys who employed him, one of whom was a king

• took part in an epic battle, only to be knocked out in the first ten minutes and miss the entire thing

• was named elf-friend by the guy who’s prisoners he sprung

• wrote his own autobiography, complete with all the narrative recognition of his own heroics

• spent 60 years writing said autobiography

• taught his lower class neighbor’s kid how to read

• taught his nephew Elvish- not only Sindarin, but Quenya too

• spent decades telling his cousins his own story as fairy tales, complete with character impressions accurate enough that one of them was able to fool a servant of the Enemy with a second hand impression

• used the One Ring of Power to hide from his neighbors

• planned an elaborate feast with multiple social faux pas to mess with his neighbors, complete with a purposefully bewildering speech and culminating in him vanishing into thin air in front of everyone

• left his cousins and neighbors very unsubtle passive aggressive gifts in his will

• settled into Rivendell, randomly befriended the heir to the throne of like half of Middle Earth, and apparently spent his time writing very personal poems about his hosts and reciting them to crowds of elves

• after being invited to a Council of basically every major kingdom in the continent, spent a quarter of the time reciting vague poems about his friends, a quarter of the time telling anyone who would listen about his heroic past, and half the time interrupting to ask when lunch would be

• volunteered to bring the ring to Mordor

• became one of only four or five mortals in history to live in Valinor

Seriously, Bilbo Baggins may well be the most chaotic, insane person in the entire legendarium, and that includes the likes of people like Finrod “bit a werewolf to death to save the life of guy who he just met and gave up his kingdom for” Felagund.

[nipuni]

Alright, time to share my opinions about Veilguard!! I have both criticism and praise so bear with me as I jump from one extreme to the other 😆 spoilers ahead of course!

The game has a very rough start with the dialogue being formulaic and rushed and the characters overexposing. It feels like a heavy handed attempt at summarizing all of previous games' lore for newcomers or in case you forgot but it's so overdone it feels coddling and trivializes a lot of previous events. Luckily this gets better once all of the introductions are out of the way, though the excessive hints and clarifications continue until the end sadly.

The locations are absolutely incredible and very diverse!! This is a highlight of the game for me. There is so much detail and care in every map and there are so many of them. My pc is struggling to reach medium settings and yet everything looks stunning. The verticality of the maps is so imposing and the graphics have a very dreamy quality that I love. I also enjoy the maze-like structure to the maps, it's more linear but makes everything look a bit more intentional. The color and light direction was amazing, all the visual development really!! it has to be one of the prettiest games I've ever played.

When I started I have to admit it did not feel like I was in Thedas and it all felt a bit theme-parky, if that makes sense. A lot of previously important and established world elements that made Thedas what it is were overlooked or made irrelevant. But the more I played the more it started to feel a bit more similar to Inquisition, for better or worse depending on what you feel about Inquisition. But!! this also feels like a selectively sanitized version of Thedas compared to previous games. In it's attempt to stay safe and uncontroversial in some aspects it loses a lot of substance and it changes the tone. The surface level politics, ignoring previously established major societal issues and a tell-don't-show approach makes the world seem more simple and shallow with no grey areas to explore. ( the humor also falls flat and out of place often too, and WHY is everyone always smirking, enough!! godlike beings are destroying the planet please this is not the time for Marvel banter aaaa )

The pacing at the start is a bit of a mess. It is so fast it felt like jumping from one world shattering discovery to the next with no time to process. The characters also seem to underreact to important information and major developments. It felt like the game was rushing me through all this to get to the part of the story it wanted to tell me while I was still wrapped in my shock blanket trying to catch my breath lmao. I really like all the key story points they touched upon, I just wish they dwelled more on them to give them more narrative weight. ( though blaming every bad thing to ever happen on the Elves was certainly..a choice )

I think the writing could have used more subtlety in the first half and more boldness in the second 😆 but I loved the thematic parallels between Rook and Solas and how every quest informs the main storyline. I do wish Rook was given more impossible choices and put in more difficult situations that forced them to lie or betray their own to better drive the point home though ( listen I just love a Trolley problem!! we need more of those, I'm the Trolley problem's number one fan!! ) I feel like they missed the chance to put Rook in Solas' role and be as vilified and hated for it as Solas was despite their best intentions which would make Rook's regrets stronger and in turn make their escape from the fade all the more impressive and give them a better understanding of Solas to either use against him or earn his respect. The line 'they called me the Dread Wolf, what will they call you when this is over' from the trailers was so good I was waiting for this!! But everyone just loves Rook no matter what!!

But I feel like I stated too many negative aspects in a row so moving on to some things I enjoyed!

The characters were very lovable to me. The romances weren't as long or impactful as I would have liked but I enjoyed all the companion quests. Emmrich is a delight and his quest is so wild and fun. I loved learning about Nevarra and I was awestruck by the Grand Necropolis. The mourn watch was so interesting, it showed a whole new side of Thedas' lore I knew nothing about! and I loved Manfred! Davrin is so charming, he became a favorite. I loved his quest too and learning more bits and pieces about the Dalish was great, I wish we got more. Seeing the Wardens through his quest also made me enjoy them a lot. Assan was very cute too and I'm glad he was treated as an animal and not turned into a goofy Disney sidekick too much lmao 😭 Lucanis is hilarious. The fantasy Spain/Italy was a bit silly and off at times but he is very sweet! and I love the Spite possession, that was so fun I'm glad they kept him that way! Bellara is adorable, her first backstory quest made me cry and I just love a nerd! I wish the second part of her story was written better however, and she sort of devolves into 'it's hard, I wish it was easy but it's hard' dialogues too often sadly. Anaris and the Forgotten Ones' portrayal was underwhelming and anticlimactic which was disappointing. Harding is also very cute and her Titan plotline was the most interesting to me, I bawled my eyes out in her quest!! I love the dwarven lore of this universe I'm so happy we got more of it!! ( she also fucking died in my playthrough?! I was devastated what the hell 😭 'whatever it takes' WEUEUGHHHG I'M SO SORRY) Neve was a slow burn for me because of my choices in game slowing that relationship down ( saving Treviso I mean, perdón amor 🙏 ) but I love detective novels and she is such a badass I ended up loving her. Taash was unexpected, I didn't think they would be so young. The coming of age story was sweet, though I found myself cringing a lot too at the handling of it I have to admit ( and the Lords of Fortune in general, and the Antaam...and que Qun..listen- kajshfgf ) but I also enjoyed learning more about the first expedition and the Qunari in general despite the messy writing and choices. I also loved Antoine and Evka! and Strife! And I haven't even read any of the novels they are in 😆 also Mila!!!! and her dad oh my god and Felassan haunting the narrative!! speaking of haunting, I would have loved for Cole to be in the lighthouse too I think it would have worked well 🤔 especially with the whole 'reading Solas' secret diary' thing the game had going on lmao

Everyone seems to get along except for a bit of friction that is quickly resolved at the start, which is hmm missed potential? I would have preferred more tension personally. I enjoy the drama! gives me more to work with and gives you a better grasp on everyone's personality by contrasting values. I think they wanted to speed run a found family trope for the new hero to establish some emotional stakes early on but it ended up making everyone seem like a group therapy session instead. The group meetings also have everyone either state the obvious or repeat the same opinion or conclusion to each other, I would have loved these meetings to have more bickering, have people get mad and storm out and also get to listen to different takes on a situation. Make Rook struggle more to take the reins and keep the team functional, learning how to be a leader.

Speaking of Rook! ( who in my case has a northern British accent that I loved so much 🥺) They seem to have a very established personality. I was expecting more of a blank slate but I'm lucky that the personality they went for kind of matches what I would normally choose in a first playthrough. Though the lack of range in the choices is irritating and takes away some replayability and role playing potential. Rook is very supportive and selfless, I wasn't expecting this tbh! But it all made my Rook turn into the team's weird supportive necromancer mom so it worked out in the end I guess lmao. I can't wait to draw her!!

I was so overwhelmed by the amount of information we got about Solas and his past!! I was expecting answers but not these many and not for them to be such an integral part of the plot!! The game feels like it's about him more than anything else. His arc is the best written out of all. He is mentioned in every conversation, he's the main advisor and the narrative foil, you get to talk to him often, you work for him and with him and go into his memories it all feels so surreal to me lmao I love him so I'm delighted ngl! but also making the other Evanuris so cartoonishly evil makes Solas into such an obvious choice of an ally, god of trickery or not, that it sort of takes the decision out of your hands and makes some dialogue options and companions' opinions seem almost nonsensical. I have no idea how this game would feel to someone who absolutely hates Solas' guts honestly. I suppose I will find out soon enough 😆

About Solas' story, I loved it! I somehow also feel that I knew it already, all the speculation and theories that Solavellan fans were crafting for years were so accurate that it was all very validating. Even the wildest ones! Solas as the Maker, the elves spirit origin, Mythal giving him a body, the war with the Titans, the origin of the Blight, Solas being on your side as advisor, I can go on, we knew!! Also I have to mention this I'm sorry but they made him look so hot!! unbelievable. And the bloodied teary eyed pathetic look in the end ouurghhh I'm cheering and clapping!!

The romance conclusion was so lovely 😭 the Loki and Sigyn ending we deserved to such a mythological epic!! and open ended enough for all of us to cook!! and we got to see him fight and transform into the Dread Wolf!! and whimper and cry!! and bleed and love!! that's all I ever wanted, incredible we were really spoiled what the hell I still can't believe it 😭 GDL acting was brilliant as usual! the visuals were also incredible and exactly what I had in mind when I imagined where the story may go, the eclipse, the giant wolf, the glowing eyes, the Elvhenan ruins, the statues, even the hair lmao it all aligned exactly to what I've been painting all these years but better I was thrilled 😭

Solas backstory with Mythal also offers players that didn't romance him a chance to see him act out of love and show a side they wouldn't be able to reach otherwise and I think it was smart! also very tragic and sheds more light into all of his choices and words and his relationship with Lavellan too and the parallels and reversals and uughh thoroughly enjoying the emotional distress 👌

Pleasing both the Solas lovers and haters at the same time was always going to be hard with him being such a polarizing character by design and the world states being so different but I think they did a good job! at least from my side of things.

I think my favorite part besides the Solas related stuff was the Blight. I loved how horrific and gross and threatening it was! I've always loved the concept of the Blights and I'm glad it was such a huge part of the story in this game. I also loved Treviso!! has to be the most beautiful city in Thedas ahhh and the Necropolis!! the gardens!! Vorgoth!!! Kal-Sharok!!! I can't believe we got to see it!! and a Titan!!! the giant floating face of Ghilan'nain in the clouds??? and the huge archdemons and dragons!! oh and that warden dragon trap in the shape of a griffon?? and the giant blight tendrils!! the siege at Weisshaupt was outstanding!! and the floating panopticon castle situation in Minrathous uughh there is so much I loved.

OH I also enjoyed the Varric arc even though I saw it coming since the trailer it was still played well and it was touching 🥺

The ending felt a bit jarring to me in tone though, a bit too cheerful considering...the horrors. Over half the continent destroyed and most of the problems Thedas had before the game are still there. Veil in place and all 😆

But I had fun!! I'm nitpicking really, the conclusion to Solas' story feels very satisfying to me which was my main worry so I'm happy. It is a good game!! with a sort of soft reboot feel to it and aimed at a younger audience which is probably what they were going for? You can sort of feel the struggle the team went through during production in the way the target audience seems unclear sadly. I also can't help feeling like this is an ending, so much was revealed and resolved!! but maybe I feel that way because that is what I felt after Shadowbringers / Endwalker in FFXIV once my favorite part of the story was wrapped? They can always pivot to a new continent and expand on the world and cultures we know almost nothing about, but that is always harder to sell so I have no clue where they will go from here 😵‍💫

Anyway I'm still processing a lot of stuff that I will probably talk (and draw) about later, this is already long enough!! for now I'll look up how to get the artbook because the art direction of this game is fantastic!! I would love to hear your thoughts too really, I'm curious about the experiences of players who made different choices and with different tastes to mine!!

[cardo-de-comer]

soo helloo and i think it's time for me to explain the deal with my characters and this whole "you're not supposed to be here" thing. EDIT: just fixed some stuff. thank you folks for your support, i really appreciate you all <3

i made these characters way back in june and by today they have a lot of lore around them in my head. i even have a dream to make a game with them but it's just a dream for now so i'm gonna try to explain the main things about this story. Obviously this is a long post, although I tried to keep this stuff short. and excuse me for my writing and any mistakes, I don't usually write this much text.

It starts with the world. Alternate 15th century, humanity is almost gone and what's left of it shares quite a big city with demons and angels. However, demons and angels are usually being treated like servants - eventually one gets tired of it all, so everyone knows an uprising is just around the corner. Let's just ignore that for now.

The City has a catch of it's own - it's alive. The walls have eyes and ears and the City knows every resident by heart and soul, both figuratively and literally. Usually City acts through the King, it chooses protectors for itself, ones who have strong minds to comprehend it - they will be called the royal knights, each of them have a company of a /more wiser than the rest of them/ demon and angel to help with their tasks. Only the King and ten royal knights know that the City is alive and very talkative but they don't understand fully what it's trying to tell them. Most of them choose to ignore the voices in their head because hey, that's what you do usually in this situation, otherwise they drive you nuts.

City is also extremely emotional and appearance depends on its condition. Usually it's a sunny day out and the city looks welcoming, but you don't want to be there when the City is scared: it might eat you alive by accident. Now that the environment is aside, time for the main three characters.

Imri is a young lad who will soon be a royal knight. He actually wanted to be a painter when he grows up but well, you cannot disobey the king's orders. Quite emotionless and a man of a few words, he tries to stay on a neutral ground between good and bad - a perfect candidate for manipulation to all three sides, demons, angels and the City.

look at him

Royal knights get to know their angel and demon companions at least a week before they get knighted to avoid any misunderstandings. Imri doesn't mind his friends at all, although one of them caused quite a fuss.

Angel /they name themselves Lyra/ is an overly positive, naive and blindly kind entity. A bit childish and very fond of justice, they try to act as a voice of conscience, not understanding that sometimes this can make everything even worse than it was. There is a feeling that they're trickier than it seems but you can never quite tell.

the latin text all over them is just a part of their design

The demon though... That's not even a demon, that's the Devil himself. Yes, everyone knows who this is, everyone avoids him and he's not supposed to be here at all. Despite being THE Devil, he didn't try to do anything horrific yet and, when he's not joking around, he tries to be the voice of reason, the voice that no one listens to. He seems to know a lot more about this whole world than anyone else but he talks about it only when he wants to.

no one likes him at all, expect maybe Imri who just tolerates his presence like he always does

That's the main three. There is a few secondary characters, Imri's father being one of them.

sir Jastrab /or just Dell/ is one of the royal knights, he's a bit naive, loyal, and a soul so kind that his demon hung himself. Oh well. He lost one hand in what he calls "a work accident" which is partly true but he never goes into details.

He never wanted for his son to be a part of the knights because he knows by experience that it's not an easy job and not every father wants for their child to go insane from the voices in their head.

few people said that the angel accompanying him looks like d20 and so be it

The others are Sun and Moon - local deities, despite being on the sky every day and night, usually they don't really care about what's going on down below. You can still talk to them but don't expect much action. Regardless of all this, they are still loved by almost all living things. They can rarely meet each other but humans always depict them together no matter what.

creators of the Stars - some part of a human soul that i can't talk about :)

Angels and demons come in all forms and sizes but those are the main population - lesser demons resemble the Devil in some ways and lesser angels look like clovers. Rivals usually but when the revolution happens, they learn to tolerate and work with each other. Humanity doesn't really have a chance.

they hate everyone equally And there is another being, that Imri meets a few times through the story - it's Death. Death is just having fun in this end of the world and there is a lot of work to be done.

this is an old and rough design so maybe it'll change The whole story begins at that day when Imri is supposed to be knighted. Everything seemed fine until Imri gets to hear the City for the first time and realizes that he hears and sees a lot more than everyone else. Completely overwhelmed he blacks out - even the toughest of minds often can't take it - and wakes up later only to find out that the King got killed somehow, angels and demons saw this as the starting point for a revolution and the City starts to panic.

Now Imri, guided by his companions and the voice of scared City that's crumbling and slowly drives him insane, shall travel to the center of it to find out what really happened, getting through demons and angels who are busy destroying the rest of humanity. Fun.

There is a lot more to this whole thing but I cannot tell the entire plot because spoilers, in case if i actually will make something out of this story. Think of it as a game lore. I'm not sure about making sth yet because i operate only on hopes and dreams and i barely have any strength lately but who knows... But now you have at least some context! And yeah, thank you if you actually read all of this, you're a hero.

Now i need to get back to drawing. Thank you all for your support. <3

[felassan]

David Gaider on Fenris, under a cut for length:

"Fenris. Now, DA2 is a story all on its own but I'm not going to go there other than to sum it up as "we had just over a year and a half to make this". It's why I only wrote one follower, Fenris, and although it'll make his fans mad: I probably shouldn't have. Let me explain. The way we'd approach making the followers is brainstorming a list of concepts covering first the array of gameplay classes (and sub-classes) and then making sure they each have some skin in the game when it came to the story's conflicts - ideally having characters on both sides of the major ones. Why? You can't make a player care about the world, but you can make them care about characters who care about the world. It's the easiest way to provide hooks into a conflict, outside of it knocking on the player's door. Heck, it's probably better than that. Players will burn the world for approval. After that, we'd decide things like romances/sexuality. Then the writers would pick who they'd write. I always let my writers pick first. I figured they do their best work when it's something they're inspired to write... and they got so few chances at ownership, I wanted to give it whenever I could It's why I (reluctantly) let Patrick wrest Cole from my grasp in DAI, a character I'd created in Asunder. It's also why I let Jennifer take Anders in DA2, who I'd started in Awakening. In this instance, it meant I was left with the angry elven warrior character who nobody else appeared to want."

"It should have been my first clue that something was up. The second was how the artists had zero clue what to do with him. The art concepts were all over the place - from mages to crows to... well, even weirder. No matter how hard I tried to explain the idea, the artists simply didn't seem to get it Does this mean he was a bad character? Not exactly. Just an idea that probably deserved some re-examining. You can tell when an idea has a certain spark, and part of that is being easy to communicate. Sadly, there wasn't time for any re-examining even if it'd occurred to me. And it didn't, not yet. If it had, if I had time, maybe I'd have re-booted him as a templar. Someone pro-templar rather than anti-mage, who could give a personal hook into Meredith and give the templars some badly-needed humanity. But this falls into the shoulda-woulda-coulda category. I had a follower to write. Quickly. I struggled, at first. It was hard to get away from "Fenris hates everything, all the time". It felt very one-note, and I didn't know where to take him. My third clue, I guess. I also wasn't sure if I was the right person to write a former slave. I did know that couldn't be the center of his story. I did know trauma, however. How it can eat you up. How the hate and resentment is like drinking poison and hoping the other person dies. How it can infect your relationships. Fenris's trauma isn't my trauma, obviously, but here I dipped into a more personal part of myself than I'd ever done before."

"It gave me the center of his story I was missing, but wow was it uncomfortable. In a good way, maybe. I likely wouldn't have, if I hadn't been so desperate. In a way, I think DA2 had some of our best writing *because* of the timeline. It was raw, with little time to sand down the interesting parts. I wouldn't have done the "Fenris doesn't talk to you for three years" thing if I'd known we were going to cut all the reactivity initially planned for the time jumps. When that call was made, I campaigned to cut the jumps to a year, but there was no time for the revisions it'd need. So, um. Awkward. I used to get asked where the name came from, and I... don't remember? Obviously it's derived from Fenrir, but I don't recall why we picked that. Someone pointed at Fenris the Feared from Joe Abercrombie's books... and I did read them, so maybe the name lodged in my head? Wouldn't be the first time. Casting Fenris turned out to be easy. He was the first time I requested a specific VA and got him. (The other times were Merrill and then Solas, my two "I want these specific Welsh actors, please".) Why? OK, if you must know, I'd played a bit of Final Fantasy XII. I heard Balthier. "Yes, that." 😅 And Gideon Emery was a delight, as it turned out. Consummate professional, and that lovely gravel in his voice... good god. Bite the knuckles. There was a struggle to find the voice at the outset where I did my best not to say "just pls do Balthier" but he found Fenris on his own and it was amazing. Overall, Fenris turned out better than he had any right to, considering the rocky start. He had a lot of soul, a vulnerability forged by pain that struck a chord with a lot of players, and I'm glad. Do I regret anything? Probably having him live in a corpse-filled mansion that would never update. That's a hindsight thing, though, as again the cut to reactivity over the time jumps came late. Outside of that, maybe letting the player give him back to Danarius? Poor shock value and a waste of resources because almost nobody took the option. Good evil options are ones that are tempting to take. And the lyrium tattoos. Interesting concept, but they're probably why you'll never see Fenris in a future DA. He requires a custom body, and the tattoos make that expensive. It's why I put Fenris in my 4th DA novel - the cancelled one. Don't fret, though. He died in it, so this way he lives on. 😉"

[source thread]

User: "Wait wait how does he die in [the cancelled novel]??" David Gaider: "Gloriously, after taking up a cause he didn't believe in at first but then made his own, one that allowed him to rediscover what it meant to be elven." [source] David Gaider: "I’m not sorry about the novel cancellation. I’m the one who cancelled it. I am kinda sad we couldn’t make it work, though. Considering it was after I left the DA team, it would have been my final DA hurrah." [source] David Gaider: "From my perspective, it was kind of "well if you're never going to use him again, let me at least give him a proper send off" and the story required a glorious death... but I get that's not the story his biggest fans would want (which is Hawke + Fenris 4ever), so it's just as well." [source]

User: "You all did some incredible work with such a tight deadline" David Gaider: "I'm of the opinion that even if we'd had only another six months to bake, DA2 would be remembered as a classic and not either a flawed gem or underbaked sequel, depending on who you ask." [source]

David Gaider: "Just to clarify the "they're probably why you'll never see Fenris" thing, as it's spawned commentary: 1. It's the reasoning as was explained to me back then. 2. Obviously, if Bio *really* wanted to, they'd find a way around it. But it was a complication that meant he couldn't be included casually." [source]

[literaryvein-reblogs]

Any advice for figuring out how to work on writing characters arguing?

I’m just curious and also I mistakenly derailed part of my writing over struggling to write a scene of characters starting an argument that was meant to escalate.

Writing Notes: Arguments

Arguing is full of tension.

Even benign conversations between friends so often belies subtextual personal agendas that are antagonistic or covertly full of anger or upset.

Honesty itself sometimes is the product of extreme tension and upset.

One’s resistance to telling the truth to another or admitting to oneself a truth can be excruciatingly tense and stressful, even between lovers.

SIDESTEPPING

You instantly create conflict in dialogue when you avoid “on the nose” responses.

On the nose means a direct response, sometimes even echoing the previous line.

You can avoid direct response:

With a statement that is unrelated to the prompting dialogue

By answering a question with a question

With a line of dialogue that is going to need some explanation

Also consider using silence:

“Are you ready to go, dear?” Bob asked. Sylvia said nothing.

Or use an action response:

“Are you ready to go, dear?” Bob asked. Sylvia picked up the mirror.

OPPOSING AGENDAS

Always know what each character wants in a given scene.

If a character in a scene is just taking up space, give him an agenda or get him out of there. Or cut the scene entirely.

Scenes require conflict or tension, even if it’s subtle.

Before you write the scene, note what each character wants.

Then spend a few moments playing with those motivations.

List 3 other possible motives for each of the characters, then mix and match to decide which ones will make for the best conflict.

It is also important to create tension among allies.

One of the danger points in fiction is when two friends, or people who are at least on the same side, have a talk about what’s going on. The trouble is there might not be any trouble between them. So much of the dialogue becomes a friendly chat.

This will violate Alfred Hitchcock’s axiom (Hitchcock once said that a good story is “life, with the dull parts taken out.”).

The fastest way to handle it is to make sure there is tension manifested from the start.

Create tension in at least one of the characters, preferably the viewpoint character.

Example: When you have Allison meeting Melissa, her college friend, for coffee, don’t have them sit down and start talking as if nothing’s wrong in the world. Put the trouble of the story into Allison’s mind and nervous system and make it an impediment to her conversation with Melissa. In Melissa, place something that might be in opposition to Allison’s needs. Allison needs to ask Melissa’s advice about a crumbling marriage. Maybe Melissa is full of news about her sister’s impending wedding to a wonderful man and gushes about the prospects.

Spend some time brainstorming about the ways two friends or allies can be at odds. Then weave those things into the dialogue.

DIALOGUE AS WEAPON

Look for places where you can use dialogue as a weapon, a means for your characters to charge ahead in order to get what they want.

Keep in mind that dialogue is action.

It’s a physical act used by characters to help them get what they want. If they don’t want anything in a scene, they shouldn’t be there.

Note that not all weapons are explosive. They can be small and sharp, too.

PARENT-ADULT-CHILD

A great tool for creating instant conflict in dialogue is the Parent-Adult-Child model, popularized in the book Games People Play by Eric Berne (1964). This school of psychology is called Transactional Analysis.

The theory holds that we tend to occupy roles in life and relationships.

The 3 primary roles are Parent, Adult, and Child (PAC):

The Parent - the seat of authority, the one who can “lay down the law.” S/he has the raw strength, from position or otherwise, to rule and then enforce his/her rulings.

The Adult - the objective one, the one who sees things rationally and is therefore the best one to analyze a situation. “Let’s be adult about this,” one might say in the midst of an argument.

The Child - not rational, and not with any real power. So what does s/he do? Reacts emotionally. Throws tantrums to try to get his/her way. Even an adult can do this. We’ve all seen clandestine videos that prove this point.

So it is a helpful thing to consider what role each character is assuming in a scene.

How do they see themselves? What is their actual role? (It may indeed be different than what they perceive it to be.)

Most important, how will they act in order to accomplish their goal in the scene?

Answering these questions can give you a way to shape your dialogue so there is constant tension and conflict throughout.

Also consider that the characters might change their roles (try something new) in order to get their way. Thus, this is a never-ending source of conflict possibilities and only takes a few moments to set up.

TIP ON DIALOGUE

Look at all of your dialogue exchanges, especially ones that run for a page or more.

Analyze what roles the characters think they’re inhabiting.

Rework the dialogue by getting each character to be more assertive in their claimed role. (Also note that a character can change roles as a matter of strategy. For example, if the Parent isn’t working, a character might switch to pouting like a Child in order to get his way.)

Sources: 1 2 ⚜ More: Writing Notes & References

Hope this helps with your writing!

[innerfare]

You See His Cabin For The First Time  

Summary: You see their cabin (or in Sabo's case, his bedroom at the RA base) for the first time.

Characters: Luffy, Usopp, Zoro, Sanji, Ace, Sabo, Law, and Kid

Genre: Fluff

CW: None // SFW

——— 

Luffy: He's literally so proud of just his hammock. Insists it can hold the both of you and could probably hold the entire crew if you tried, asks if you want to try, asks you if you’re sure when you say no. Definitely has a couple of dirty dishes that he’s forgotten about, as well as a few wrappers on the floor. Has some fishing poles, a net, quite a few different games, and a bookshelf that’s full of both comic books and snacks so that he doesn’t have to go all the way to the kitchen if he gets hungry in the middle of the night. 

Zoro: Your first thought is, why does it smell so freaking good in here? You expected dirty laundry strewn around and the stench of sweat and maybe a hint of metal from those blades he was always sharpening. And sure, there is a hint of metal in the air, probably more from the many weights against the wall than his swords, but it also smells fresh, like laundry detergent. He has his own wanted posters on his wall- not just the current one, but the old ones, too, all of them lined up in order so you can see his increasing bounty. He also has a collection of unique booze bottles from all over the world, his equivalent of keeping a map with pins in the locations he’s visited. Oh, and there’s an anatomy coloring book and some markers that belong to Chopper that Zoro keeps in his room because sometimes when Chopper is having a bad day, he wants to chill with his dad big bro. 

Sanji: Sparkling clean, and yet, he’ll apologize anyway because the pillows aren’t fluffy enough, the rug isn’t completely straight, etcetera. His closet is very well organized, all of his clothes ironed and properly taken care of (Sanji’s the rare type to actually read labels and do his laundry accordingly). His most prized possession is a book on the All Blue, which he’s poured over countless times, using color coded tabs to flag various pages and writing detailed notes in the margins. He also came across one of Zeff’s old wanted posters in Loguetown, and he keeps it framed next to his own, the closest thing he has to a family photo.

Usopp: You’re surprised to find he has quite a bit of clutter in his small space. He has a collection of different style slingshots and a surplus of supplies to fix them should they ever break, as well as literal boxes full of special stars and ammunition. He has an entire set up rigged on his desk to create more, and some plants in his windowsill to grow ingredients. In addition, his bookshelves are heavy with various collections of fables and tales; he’s working on his own and hopes to publish it one day, but he doesn’t talk about it because he’s worried nobody will take him seriously, and you only learn about it when you see the notebook he left on his bed. He also has a couple of fun hats, crazy sunglasses, and feather boas that he definitely pulls out when the Straw Hats get a little too drunk. Oh, and there’s a picture of his parents on his nightstand. 

Ace: His cabin is pretty sparse because he tends to travel light. He has a collection of animal teeth secured from a menagerie of wild beasts he’s taken down over the years, and he’s very proud of those teeth. He'll tell you about each one if you ask, is practically bursting at the seems with stories. He has way more animal teeth than he does clothing or books. Also has a pretty sick tiger pelt for a rug (he had intended it as a blanket, but he runs so hot he can’t actually sleep with it). He has Luffy’s wanted poster on his wall, and beside it, a note reminding himself to send money back to Dadan on the first of every month. Buried in the chest at the foot of his bed, he has the original ASL flag. 

Sabo: His bedroom at the Revolutionary Army’s base is a total bachelor pad, and when you see it for the first time, it wasn’t planned, so he’s a little embarrassed by the state of it. He has some dirty dishes he forgot about, some dirty laundry on the floor, and a pile of books on his bed. He spends virtually no time there and probably wouldn’t even have furniture beyond a mattress on the floor if it wasn’t provided by the Revolutionary Army as part of his living quarters. That being said, he did pin Luffy’s and Ace’s wanted posters to his wall, and he has a couple of different lotions and skincare products on his bathroom counter. 

Law: You don’t know what you were expecting- would it be sterile like an operating room? You’re surprised to see comic books and a few action figures. He has some records, too- a bit of rock, some low-key emo music- and to your complete and utter surprise, a candy wrapper on his nightstand. And then there’s the coin collection on his desk, tiny pieces of metal he picked up on his many travels. You’re careful not to have a big reaction to his personality showing through for once. 

“I like your action figures.” 

“They’re kind of childish, but-” 

You cut him off before he can dismiss his own interests as dumb. “No, they’re not. They’re cool.” 

Kid: It’s as messy and ostentatious as you’d expect, but he sheepishly tries to fold the leopard-print blanket crumpled on the bed and put some laundry in the hamper, though you quickly deduce he has no clue which clothes belong in the hamper and which go in his closet. It’s shocking to see him care what someone thinks. He has a pile of lipstick and nail polish on his desk and an impressive collection of weapons he’s stolen from various pirates; he could probably open a museum with all the weapons he has. Also has lots of tools he forgot were in there. TBH, he’s probably as shocked as you are by the state of his cabin because he spends most of his alone time in his workshop, anyway. 

———

Hope you enjoyed it! If you want more, you can check out my masterlist here!