#I want some more complexity here

[arcanegifs]

Here's more comparisons of Arcane Gifs before and after I color and sharpen em!

[chrliekclly]

——————

it’s been 6 years exactly nd i apologize for everything about this

[tw: implied csa]

[hips-like-battleships]

Oh sure, I don't think I was saying the situations are exactly the same. I don't think freeing Sten is corrupt. I was more expressing befuddlement that Bioware is jumping right to child murder as its criminal backstory crime of choice. There are so many crimes! And we have TWO child murderer companions?! That's a little intense.

I'm replaying Inquisition to get ready for Veilguard and the Blackwall stuff is even funnier than I remember. Like on the surface of it, it works fine: a great chevalier commits a crime, flees from the consequences, is given another chance by a member of an honorable order of knighthood who then dies, and so he steals his would-be mentor's identity. His character mission in the game then is when he confesses who he really is in order to keep an innocent man from being executed for his crime. A real Jean Valjean moment.

...yeah, okay, except Jean Valjean stole a loaf of bread, and Blackwall murdered an entire family, including two children, and left his own loyal men to die or become fugitives so he could escape.

so he reveals himself, and gets arrested, and they're going to execute him for these crimes that he definitely did do, and I'm always just like...yeah, that seems fair! that seems about right. No need to tarnish the reputation of the Inquisition getting him out of jail, let the wheels of justice turn, I have other tanks.

like the crime the writers gave him is so excessive?? He could have killed a hotblooded young heir in a duel! He could have stolen from his liege lord! He could have cheated at a tournament! There are lots of things he could have done that might have made him want to hide his identity, and ultimately led him to become ashamed of the man he used to be, while your character could still plausibly be like "come on man it was a long time ago and you've done a lot of good since then, give yourself the chance to move on."

but no instead you get this incredible story beat where this guy you work with turns out to be Jeffrey Dahmer, and so you wash your hands of him instantly and never think about him again

[poorly-drawn-mdzs]

"See you tomorrow"

MDZS Disco Elysium AU part 4 [prev parts]

[it-came-autumnally]

These two are so funny. Women's wrongs standoff

[lacecap]

something about this seems familiar to you

[averlym]

litany of the martyrs (click for better resolution!)

[d8tl55c]

oh boy !! ! ! ! !!! ! thANK y0u all for the kind words on my last art posts. you all get it and i was/still am so happy about it

as promised, here's some close-ups of the comic for image quality's sake, and other screenshots i rescued from the community whiteboard (and something else)

first up another sketch of mystery gender-ambiguous being. (please send me more name ideas for them if you got one- i like to hear em! (reminder it's the side character that appeared for <10 seconds in AvM Ep. 30))

a few fav scenes

emotional support cwab

they weren't meant for this purpose exactly, but i do have countless "fluffy sticks" loose in my notes and homework sheets from the school years.

papery critter.

even when i wasn't confident in fur or feathers, they helped me practice posing and create some satisfying gradients/flowing poses. (im a sucker for good tail poses) (oh yay! i found a good pic...)

and finally, little sneak peak for you for reading so far ;3

i realized that whiteboardfox is pretty great for my working needs. simple and to the point and all. feels nice with the mouse and the tablet.

so i started hashing out a big project idea just to see if it holds up and

[

several hours later ...

]

oh

oh man

it's a little bigger than i expected

<next>

[oldworldghost]

Are requests still open? If yes could we maybe see a jealous P please? Like he’s learning his emotions and he learns he doesn’t like jealousy or something

Jealous Pinocchio! ☆

↳ Hello nonnie! Requests are indeed still open, and I love jealousy prompts >:3 also sorry to everyone who has sent in a request that I haven't answered yet, I have been sick and busy, well, playing the game </3 Under the cut because this is a long boy

➸ Okay so jealousy with Pinocchio obviously depends, much like you said, on how human he is; how much he knows about not only his own emotions, but emotions in general. It's because of this that, at first, there really isn't a lot of instances of jealousy on his part, and what instances there may be are not going to be immediately recognisable as such. And of course this is due to the fact that Pinocchio just doesn’t have a good grasp on his own emotions initially; he knows he’s feeling something and that that something is almost unpleasant, he just doesn’t know what to do with it or even what to call it.

➸ The main way jealousy at first manifests with Pinocchio is a little off putting, almost. You could probably mistake it for a sort of increased protectiveness; when he sees you talking to someone he stands close, glares at the other person or just watches like a hawk for the duration of the conversation. He doesn’t say anything or really do anything and it gets a little creepy. Don’t get me wrong, Pinocchio doesn’t mean it in a bad way whatsoever – he just wants your attention – but to everyone else it looks like he’s waiting for whoever you’re talking to to suddenly attack or something. It’s his eyes that do it, they’re so dead that is just doesn’t inspire any form of ease when it happens. Luckily, these instances are rare and fairly easy to handle. Just give him your attention and he’ll relax. And of course, as he grows this habit of his simmers down and changes.

➸ [Honestly though this could be so funny too because like, despite the fact that it’s both unnerving and rare I imagine that everyone would eventually end up catching on to what’s happening and god they have a field day with it. Especially Venigni. He doesn’t mean any harm but seeing Pinocchio look like he’s going to combust on the spot is a little bit funny. Do the rest help enable Venigni and this habit? Maybe, maybe. Eugénie is the main co-conspirator here.]

➸ As Pinocchio changes and becomes more human he settles into his feelings more, he learns and grows to not only feel them but process and identify them. And this, of course, goes for jealousy as well. Through both his own experiences and talking with humans Pinocchio is able to realise that yeah, he’s felt jealousy. That that's what that uncomfortable tightness was. However what is most interesting is that the more human Pinocchio becomes the more jealous he finds himself getting, and on a more regular basis. A part of this is because there is an increasing depth to his character and emotions, so naturally they grow more intense, but the more important part is the growing cause of his jealousy; that being his nature as both puppet and human.

➸ Now I do believe that Pinocchio never had an inherent desire to be human, and that it was something he strove to become because he believed that his father would want him as one, and because as a “special puppet” it would only make sense for him to try and change his nature. And so what Pinocchio was or should be never quite bothered him at first - more just filled him with a sense of confusion – but as he grows more human the more he genuinely wants to be one, and your relationship with him plays a major part in that and his jealousy. You see, Pinocchio wants humanity so he can truly love you, but it is this growing humanity and desire that places the weight of what he really is on him; a puppet and as such not enough.

➸ It is jealousy born of insecurity, the more he tries to change the more his faults become apparent to him. His perceived inability to emote, to understand; the disconnect between himself and you, the gap that Pinocchio wonders if he will ever be able to truly close. He is worried, very much so, about being replaced or cast aside, because if the choice came up between himself and someone fully human, well, why on earth would you chose him? This insecurity is only heightened post game, where – and of course spoilers – Pinocchio has been betrayed by his own father, the person he thought loved him despite his being a puppet. I don’t want to build it up too much, but being told you’re only there to be replaced and that you’re not enough by someone who you trusted has to leave its mark, especially when you share memories with the person you were supposed to be only to realise that they were never enough either. Like, yeah. Ouch!

➸ Of course as Pinocchios’ emotions grow so do the rest of his abilities, including being able to tell what he truly does vs doesn’t like feeling. He could always kind of do it, but now he is able to fully articulate the why of it, and jealousy has landed itself into the category of “I Do Not Like This”. Now that itself is fairly obvious, no one likes being jealous, but the main reason its there for Pinocchio is because it makes him feel bad, almost guilty. To him jealousy indicates a lack of trust in partners, but the kicker is that he does trust you. Despite everything that’s happened Pinocchio places his full trust and faith in you day after day, or at least he thinks he does, and on top of that even if you did end up finding someone better and/or leaving he would have no right to stop you. If you wanted to it would break Pinocchios heart, but he would let go because he would hate to try and control you; to force you into something you don’t want to be in. And so not only does his own jealousy make him feel bad but it confuses him greatly, because Pinocchio knows that he can’t control you and that he can trust you, so why does he still get that sinking feeling when he sees you with someone else? [It’s the unresolved issues, but you didn’t hear that from me]

➸ On a lighter note though, while Pinocchios jealousy is heightened and most frequent post-game it will naturally simmer out, much like how the whole protective-jealousy phase did. That is not to say that it is a fast process, naturally it is slow and time consuming - and that in part is due to simply how many things there are to do now that his father and Simon are dead - but with the support of yourself and a few makeshift therapy session with Gemini and Sophia [i.e. literally just talking about what he’s feeling], it ends up being something that he can handle a fair bit better than before. Still a slow process, but manageable [also PAUSE imagine Gemini on a table and Pinocchio laying on a couch like they’re actually in a therapists office with Sophia taking notes].

➸ Anyway yes, the main thing that helps is through talking to you. It gets to a point – and rather quickly at that – where Pinocchio finds that he just really needs to tell you what he’s feeling. He feels bad about it, of course, but I think what he really needs to be told at first is that it’s just natural. People get jealous even if they don’t want to or mean to and sure maybe not like he does, but that is something that can be worked on. Pinocchio needs support in his own ways and for his own things, even if he might not necessarily want to admit it, but luckily Pinocchio can also a very transparent lover, especially after becoming human.

➸Okay to drag this whole thing on let’s back peddle a teeny bit. How jealousy manifests at the heightened point actually shares similarities with how it initially manifested. However instead of coming off as protective it very obviously comes off as jealousy mixed with something akin to fear, for reasons already discussed. He also develops the habit of just quite literally pulling you away from whoever you’re talking to and taking you somewhere else. Pinocchio does this under the guise of “I’m human now so I want to spend as much time with you as I can to bask in it” but it is very obviously just Not That. Or more not fully that, anyway. It does retain a little bit of the humour it originally had, and yes there’s still a little bit of poking fun and riling him up [especially from Venigni] but that is rare, mainly because it’s kind of also just sad that he feels the need to do it after everything they’ve all been through together. And Pinocchio knows rationally that none of them are going to try and “steal” you off him, for lack of a better word, but that rational thinking just doesn’t help much here. However this is also not the only habit that develops, sometimes Pinocchio will simply avoid you for a little, a sort of self pitying isolation mainly because he doesn’t want you to see him upset or jealous. None of the hotels residents know which one is worse to witness, honestly it might be a tie.

➸ Okay so on an actual actual lighter note [and because we cannot be here all day], once both Pinocchios’ relationship with his humanity is better his jealousy becomes something fairly rare, much like at the start. And by that point Pinocchio has also come to terms with it too, it’s a part of him he can accept and make peace with. After this, a lot of instances of it are just kind of cute. Like I will be absolutely real with you he is playing it up to get your attention; you’re getting puppy dog eyes, pouting, and in private Pinocchio’s going to go on some very light hearted spiel about how you no longer love him, all “woe is me” on you. As a human Pinocchio has grown a rather mischievous and sassy yet still gentlemanly personality and it so fucking shows here. A lot of these instances of jealousy are caused by, you guessed it, Pinocchio not getting enough attention, which is a little funny because by this point he’s very able to be alone by himself for a while. The other instances are people just getting too close [i.e. Venigni and Eugénie] or things of that ilk.

[yellowocaballero]

Been a fan of your fics for YEARS. I was just telling my friend how despite how much I read fics I never actually love them, with some of your fics (especially TMA) as the exception. Felt the need to reread some of them and saw you reblogged some ISAT fanart. So. Any thoughts on ISAT you'd like to share?

Hope you have a wonderful day!! So happy I found your fics again!!

I avoided answering this for a while because I was trying to think of a way to cohesively and coherently vocalize my thoughts on In Stars and Time. I have given up because I don't want to hold everybody here all day and I have accepted that my thoughts are just pterodactyl screeching.

I love it so much. I have so much to say on it. It drove me bonkers for like a week straight. I have AUs. It's absolute Megbait. They're just a little Snufkin and they're having the worst experience of anybody's life. Ludonarratives my fucking beloved.

I am going to talk about the prologue.

The prologue is such a fascinating experience. You crack open the game and immediately begin checking off all of the little genre boxes: mage, warrior, researcher, you're the rogue...some little kid who's there for some reason...alright, you know the score. You're in yet another indie Earthbound RPG, these are your generic characters, let's get the ball rolling.

Except then you realize that these characters are people. You feel instantly how you've entered the game at its last dungeon, at the end of the adventure. They have their own in-jokes, histories, backgrounds, adventures. They get along well and they're obviously close, but not in a twee or unrealistic way. They have so much chemistry and spirit and life. I fell in love with them so quickly.

But Sif doesn't. Sif kind of hates them, because they will not stop saying the same damn thing. They walk the same paths, do the same things, make the same jokes, expect Sif to say the same lines. They keep referencing a Sif we do not see, with jokes we never see him make and heroic personality he never shows - they reference a Sif who is dead - and Sif can't handle that, so he kills them too.

They become only an exercise in tedious frustration. Sif button mashes through their dialogue, Sif mindlessly clicks the same dialogue options, Sif skips through the tutorial, Sif blows through the puzzles. Sif turns their world into a video game. Sif is playing a generic RPG. Sif forgets their names. They are no longer people with in-jokes, histories, backgrounds, adventures. They're the mage, the warrior, the researcher, and...some random kid.

I did not understand the Kid's presence at first. I had no idea what they contributed to the game. They didn't do anything. As a party member in a video game, they're a bit useless. Why is the Kid there?

Because Sif's life isn't a video game. Because the kid isn't 'the kid'. They're Bonnie. Bonnie, who the party loves. Why is Bonnie there? Because they love them. There is no room for Bonnie in the boring RPG that Sif is playing. And then you realize that Sif is wrong, and that they've lost something extremely important, and that they'll never escape without it.

Watching the prologue before watching ISAT gave ISAT the most unique air of dread and horror, because you crack open ISAT and you see the person Sif used to be. You realize that Sif used to be a person. Sif used to be the person who made jokes, who gave real smiles, who interacted with the world as if they are a part of it. And you know you are sitting down to watch Sif lose everything that made them a person, to lose everything that made them a member of this world, and turn them into a character in a video game who doesn't understand the point of Bonnie at all.

At the climax of the game, when the others realize that something is deeply wrong and that Sif physically cannot tell them, they realize that there is nothing they can do. So Bonnie declares snacktime. And for the first time they have snacktime.

What is snacktime? Classic JRPGs don't have snacktime. There's literally no point to a snacktime - not in a video game, and not in Sif's terrible life. It's not fixing this, because nothing can fix this. But Bonnie gives Sif a cookie and Sif eats it.

It's meaningless. It's a cutscene. It didn't save Sif and it didn't change a thing. It will make no difference in the end.

But it did make the difference. It made all of the difference in the world. Bonnie is a character who you really don't understand the point of before you realize that Bonnie was the entire point.

ISAT is about comfort media. Why do we play the same video games over and over again? Why do we avoid watching the finale of our favorite shows? What is truly comforting: a story with no conflict, or a story where you always know what is about to happen? Do you want to live in a scary, uncontrollable world, or do you want to play Stardew Valley? Do you want a person or a character?

When I beat Earthbound for the first time (and if you don't know, the prologue/ISAT battle system is just Mother) and watched the ending cutscene where the characters part ways and say goodbye...I felt a little bit sad. I wanted them to be together forever. But that's something only characters could ever be.

[scummy-writes]

If I have you blocked, please do not message me on other accounts. If you know I have you blocked on one place, please do not try to reach out to me if you find out i didn't block you on another place.

It is very frustrating knowing that some people, not everyone, will see that I have them blocked and will go through different accounts to send me anons or dms. I know that when it gets to that point, it is a bit pointless to try and publicly ask someone like that to just leave me alone, but you know! I still wanna like. Ask you. To leave me alone if I have made it clear multiple times that I don't want to interact with you. I don't really care if you believe its unfair that I have you blocked. Unfortunately, in the world of online spaces, if I decide that I don't want to talk to you because i felt so uncomfortable that I decided to block you, thats me expressing a boundry. That's me saying 'please leave me alone'.

I'm some weirdo online who writes mid smut of traumatized guys. I should not be so important to you that you want to try and contact me through alt accounts or get upset when I continue to block you. I am uncomfortable. You reaching out knowing this, does not make that uncomfortable go away. It makes me more defensive, less willing to talk, and more prone to snapping and popping off if it does happen. I know it hurts when someone blocks you, but you need to understand that pushing for yourself to be unblocked through friends or anons, only makes the situation worse. There are so many other people to befriend who are so much nicer than I'll ever be, please leave me alone.

[thefirstknife]

After recovering from the doomed yuri (he said, like a liar), I had a moment to think about a little detail that I'm not sure was seen again or addressed at all?

In the mission where we go into the cache copy of the Infinite Forest, there were 4 doors in the central room.

One led to Saint-14's Tomb and the other led to what would be the Encore area. But I recall the other 2 doors had some distinctions from the others (clearly remember one having what seemed like scorch marks and/or ice?) that were inaccessible.

....What's up with that?? There was speculation about where those could lead, but then I don't think we ever went back there to check?

Of course, I could just be misremembering things (it's not like my heart was mercilessly torn out from my chest, no no. I'm very capable of rational thinking at the present, yes)

No you remember right! They're there, I went batshit insane about this when I first got there. Took additional screenshots on my other visits and wrote up my observations in one of the posts, but I'll drop the screenshots here again because they're better quality/angles.

The icy gate is Europa gate. It literally uses the same textures and ice and snow:

Normal Sol Collective Vex come out of that gate during the fight, aka the ones you'd find on Europa. This isn't too big of a deal overall because those Vex are just the standard Vex units in the system. However, the other gate? The grassy one? That's the Black Garden gate:

During the fight, Sol Divisive Vex come out of it. This means that the Europa gate doesn't just have random Vex, it's like that on purpose, otherwise this one could've also had the Sol Collective, rather than Sol Divisive. The distinction between them does matter. Could just be for the purpose of showing off different units and all; not necessarily some huge hint but still. I don't think I'll ever stop thinking about it.

It's a really big area with a lot of stuff that's really unique, such as these various gates. It hasn't been used for anything other than this mission. Was it just a nice setpiece for a really important mission or is there something more here that might be revisited? No clue, but it looks like something that could be used at a later date.

You can return here from Encore, but I don't think it's intended. You can't come back when you're at the start of the mission; there's a turn back zone. But when you return to the starting area while doing the secret chest, you can go back fully to this room. And it's a little weird. The radiolaria pool on the floor is not moving or damaging you, for example, which means that it's not intended to go back. But if you want to go explore the area, you can!

I have no idea if they ever plan on expanding on this. The whole idea is super intriguing to me. Nessus has these "archives" that can apparently go to different places? At least Vex-controlled ones like the Black Garden and Europa (I'm thinking it's possibly connected to the Nexus/Glassway). Can these be tuned to make other areas accessible, even if they're just archived? And obviously a really peculiar detail is that they specifically use the Infinite Forest portal, including being able to go to the Infinite Forest archive, in the case of Saint's tomb at least.

Obviously this went beyond the scope of this season, but when it comes to the Vex and their abilities and options, I am very intrigued by this whole area and what it may be capable of. Also, better image of Descendant Wyverns which are unique units made only for this mission (that I am aware of):

Used only once, here. They have to have made them to be used at some point again in the future.

Certainly one of the most fascinating areas that just looks like something other than simply a setpiece for a one-time mission. The whole concept of it is really intriguing as well because if we could possibly access some of these other archives, could we learn more about the Vex and their plans? Uncover some of their secrets? Find a way to fight them better? Do these archives contain information about the actual places like the Black Garden and Europa, or are they just archives of simulations from the Forest? Or both? Also, which collective controls this archive even? One of the gates leads to the Black Garden and Sol Divisive isn't on good terms with the rest of the collectives, so how are they dealing with that?

These are questions for another day, I suppose. *punches through the drywall*

[cliveguy]

i feel like there must be a way about talking about transmisogyny in trans spaces without making posts that act like every single trans person comes from a large liberal usamerican city

[storywestistrash]

i am actually so tired of the way westerners treat eastern europeans

[commsroom]

i think there's something to be said about what exactly it means to be "non-human" in a story that is as much about humanity as wolf 359 is, where even the dear listeners are defined less by their own perspective and more by what they fail to understand and therefore reflect about the human perspective - to the point that they don't even have their own voices or faces or identities that aren't either given to them or taken from humans. they speak to humanity as a mirror.

even pryce and cutter are "very much humans" - pryce defined by her resentment of and desire to transcend its limitations, and cutter by his aspirations to redefine and create a "better" type of human - and find the idea that they might not be human laughable. it's interesting that they have distinctly transhumanist aspirations when their goal is the narrative opposite of common science fiction fears: that we will expand the definition of humanity so much that we'll lose whatever it is that makes us human. pryce and cutter's transhumanism narrows the definition of humanity to the worthy and the useful, as defined by them; "there will still be a humanity; it'll just be our humanity."

in direct opposition to that, i think it's meaningful that the show instead expands the definition of humanity in ways that include lovelace and hera, who in another show with different themes might be considered (in the descriptive, non-moralistic sense) non-human. i will always make a point of saying that personhood and humanity are two often-related but meaningfully distinct concepts, especially when talking about sci-fi and fantasy. i am talking about humanity.

the question of how hera identifies, and what social pressures influence that, is a complicated one. i've talked about it before and i will talk about again. what's important for the purposes of this post is that i think the show considers her fundamentally human. think about her role in shut up and listen - consider jacobi's lion example and the concept of different paradigms - that even things that are close to humans, comparatively speaking, understand the world in different ways. whatever differences hera may have from the others, it's primarily in experience, not fundamental understanding. she shares their emotions, their concerns, their values, their thought patterns. she has an appreciation for music, which the show considers a hallmark of humanity. she fits within the framework of humanity as the show defines and is, in her own words, left feeling "uneasy" about how difficult it might be to communicate with beings who don't. and it's significant that this takes place in shut up and listen, of all episodes, specifically because the way she is clearly and unambiguously included in the show's understanding of what it means to be human highlights the ways she and lovelace are othered by eiffel's careless comments that suggest otherwise.

(i don't want to get too into these details for this particular post, but it's worth noting that hera will refer to 'humans' as a category, often when she is upset and feeling isolated, but has never said that she 'isn't human' - she has never been upset that people are treating her 'too' human. i've seen it said about the line "you need to get it through your heads that what goes for you doesn't always go for me", but that's a frustration related to ability and safety, not identity. far more often, she will refer to herself in 'human' terms - referring idiomatically to experiences or body parts etc. that she doesn't literally have - and is upset primarily with comments referring to her status as an AI. it does not diminish how being an AI influences her perspective and experience, but again, so much of that is in terms of ability that it feels almost inseparable from a discussion about disability.)

lovelace's humanity and hera's humanity are so interlinked and directly paralleled in the text that i think it's impossible to really argue one of them is "not" human without making implications about the other. in desperate measures, lovelace tells kepler he's "not human" and he responds "you're hilarious. on a multitude of levels." later, defending lovelace against kepler's repeated dehumanization, hera very pointedly uses the phrase "that woman." in out of the loop, hera says she's never met anyone who "worked so hard at being inhuman" as jacobi, who says "what do you know about being human?" hera very emphatically responds, "i know plenty." later, defending hera against jacobi's repeated dehumanization, minkowski pointedly uses the phrase "that woman." with the care taken towards language and the way scenes and turns of phrase will parallel each other, that's not a coincidence. it might seem strange to have the "non-human" characters be the ones to express criticisms based on perceived "humanity" (something hera will do in other contexts as well - "we don't have funerals for animals" etc.) but in the broader context of the show, i think it's the point.

so, whether hera would ever call herself human, or be comfortable with that, is a complicated question for another time and depends on a lot of other factors. but wolf 359 is a show about humanity, it includes her within its definition of what it means to be human, and i wouldn't be comfortable definitively saying she's not human because of that. it can't be a neutral statement within the particular context of this show.

[what-the-flux]

Commander Week Day 2: Profession

(once again, typed much of this up after a work day so I apologize again if it reads rough around the edges)

There was a deafening bang somewhere behind them, followed by the shriek of tearing metal as the entire airship started to list port-side as the massive undead dragon strafed beyond Vireskk's field of vision. He got his armored feet under him as he looked outside at the gunners stationed along the modified bowsprit from his vantage in the covered cockpit. One of the Pact officers posted on the airship with him, warmaster Oort, barreled inside covered in Risen gore. His deep voice was thick with adrenaline as he said, “In the clear, but only just. There’s more of the bastards closing in.” Before he could form a reply one of the ship’s ensigns, a young human of barely over twenty, ran in and stopped short in front of him, “Commander! Warmast—Sirs!” “Get on with it!” Oort growled. Vireskk nodded at the ensign, signaling him to continue. The man, already flushed from the continuous fighting, went scarlet as he said hastily, “Sir! We took a hit in the stern and we’re losing altitude, we got a transport that’s lining up to take the crew away, but the dragon might be back any minute! Visibility is poor and we’re dropping ballast as fast as we can.” The commander’s expression was grimly set as he weathered the news. “That dragon needs to be taken down, otherwise whatever ship we jump to is just going to be another fresh kill. Warmaster,” He leveled a steady gaze at Oort, “Take what supplies and crew you can and get off this ship, now. I will help them with the dragon.” The Vigil officer didn’t budge, ready to argue as he watched Vireskk go to a weapon rack and take a sizeable longbow from it. Oort gave him a look of open incredulity as he said, “You even know how to use that thing?” The commander smiled, a wan expression as he tried to pull a pleasant memory that at this point felt like a distant, faraway thing that happened to someone else in a different time, “I had archery lessons during my aptitude exams, I was a pretty decent shot at least. We shall see how true my aim has remained.” The big asura stared at his distinctly striped face and replied, a snarl in his voice, “Do you really think this is going to do us any good? Better to take it down once stationed on a fresh ship instead.” Vir returned the gaze with a stoic one of his own. He understood the officer’s penchant for rankling at following orders sometimes so he was careful with explaining the objective. “I acknowledge the merit in your words, however you and the rest of the crew are going to need cover fire and for the Risen to be occupied while you evacuate, they might try to capitalize on your vulnerable position otherwise.” The warmaster frowned and shot back, “You need more backup on here in that case. You, those guild members and a handful of gunners providing cover?” Vireskk’s mien became intense. Though Oort was much greater in stature and build, the gravitas of the commander’s whole demeanor and voice seemed to close the gap in physical disparity entirely. “We all knew and accepted the risks the very second of the Pact’s inception. You are to oversee the immediate evacuation of this ship and to rendezvous if our task is successful, or to press on if it isn’t. You have your orders.” Every word of his command rang like a gavel, decisive and brooking no argument. The Vigil warrior went silent and appraised him with an unreadable expression for a few heartbeats before nodding curtly, pushing past the dumbfounded ensign before the latter followed him out so they could proceed with offboarding.

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Wind was howling in Vireskk’s ears as he briefly conferred with the crew that remained outside on the deck of the ship. They were still losing altitude but slower now since the power backups were still operational. The evacuation was not a moment too soon as they saw the hideous forms of multiple dragons dive towards them. The gunners in position once again with the members of Destiny’s Edge keeping an eye on the deck, the commander held up his fist and began chanting a litany that grew in power, cadence and volume, preternaturally loud and strident so that to the crew even the dragons’ roaring seemed muffled. Silvery blue flames wreathed him and all on deck, his promise to them that as long as he stood, so would they. As the on-board magitech cannons powered up he nocked an arrow, sighting down it as he pulled back. The muscle memory from his lessons was still there, but there was still a spark of uncertainty within him and he worried if he really would be of much use with it as the chaos of battle started to surround him. Magic flames came to life once more as he narrowed his focus and slipped into a meditative state, the fire dancing and coruscating around his arms in eldritch patterns until it set the arrow on fire. There! Something clicked in his mind just as a Risen dragon wheeled around in full view of himself and the broadsides.

Onboard the airship nearby that was pulling into a strafing run to assist, Oort and the others saw along with the pulses of cannon fire streaks of fiery arrows collide with and ignite the corrupted, rotting flesh of the dragons that burned pieces away like scraps of parchment thrown onto a bonfire. The monsters shrieked in rage and agony and it wasn’t long until one by one they were routed and torn apart by the collective barrage from both ships.

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Later on back in Fort Trinity after the fall of Zhaitan during all of the spontaneous revelry that had gripped the Pact collectively, the commander found himself with a short-lived breather away from the nexus of it all. Warmaster Oort, also inclined to stick outside the orbit of everything, approached him and greeted him by way of a slap on the shoulder. Vireskk smiled and hid a wince as he held a bandaged arm. The larger asura wasted no preamble and said directly, “I glitched up, doubting you back there at The Humble. I admit I’ve been carrying around misgivings about you and all this in general for some time. I think you’ve proven me wrong on multiple counts now.” Vir looked out into the sizeable group of jubilant Pact soldiers before looking back at the warmaster, “Apology accepted, that’s quite a rare and precious thing coming from you.” He chuckled lightly before adding, “I do not blame you for your misgivings though. I did have to prove myself and show just how willing I was to not simply speak of virtue and sacrifice but to put it into practice. It is individuals like you that help shake me out of habits of wanting to observe and be reactive instead of proactive. So I encourage you to continue to speak openly.” Oort grunted a sound of affirmation, the most response he’d get out of the taciturn officer. The commander gave one of his uncommon playful smiles and added, “That still doesn’t give you free pass to argue with direct orders when we’re in the middle of a combat zone, however.” He turned to Vireskk and smirked lopsidedly, the closest thing he’d come to a proper smile and replied back, “Noted, I’ll work on that. But only if you say you’ll work on your terrible aim.” They both laughed together as they returned to the celebration.