#I'm doing it thematically

[sysig]

Permission to headbutt: Granted (Patreon)

[the-velvet-worm]

remember when gideon gave harrow a little kissy on her forehead and harrow made a sound that embarrassed them both. what was that about

[saphushia]

i sat down intending to draw dcdp stuff and then spent like 2-3 hours scribbling older/king danny designs. woops lol

[redinthesea]

"The Unlucky Groom" or "Have You Fulfilled Your Dream Yet?" or "Back Where You Started" or "Why Is He Cinderella Though" or "I Still Think He Needs to Be Put Down" or "Smoking is Bad"

[starcurtain]

Female Guidance in Aventurine's Life

One thing I haven't seen discussed in much depth yet, but which I think is especially interesting, is the consistency of female guidance in Aventurine's life: Every single person who we have seen on screen offering Aventurine assistance or making a positive difference in his life is female (with one exception, yes, I'll get there).

Under the read more cause it's longggg:

Before even diving into his family, let's just get the obvious out of the way: Aventurine is, at least supposedly, blessed by a goddess. The very origin of his good fortune--be it actual blessing or curse--comes from the literal "mother goddess" who watches over him. This is one of the only instances in Star Rail where a god character is specifically given a gender, and Gaiathra is not ever ambiguous. She is the classic female fertility goddess with all the trappings of other famous triple goddess figures of the real world. Aventurine's personal belief in the goddess may be shaky, but he nevertheless continues to treasure his people's faith. Thus, at the core, we can say Aventurine is a character who is guarded by the most quintessential mother figure possible.

Now, with the most obvious out of the way:

We know that Aventurine's father died before Aventurine was even born, and therefore he would not have any memories of his father, leaving him to be raised by his mother and sister.

Both women clearly made an enormous and lasting impression on Aventurine; they haunt every single one of his memories of Sigonia and are the key elements of the family Aventurine longs to return to. While he flirts with the concept of death as a way to see his family members again, it was also his mother and sister who instilled in him any sense of self-worth and meaning to his existence, the only things keeping him from giving up on living. His mother believed him to be blessed; his sister insisted to his face that not even the only remaining remnant of their mother had any value in comparison to his life.

It is for his sister that Aventurine first begins expressing a self-sacrificial nature, and from his sister that this self-sacrifice is reinforced when she uses herself as a shield to help him escape massacre at the hands of the Katicans.

It is also from his sister that Aventurine learns many of the deeply meaningful actions he holds onto to the present day, despite having been so far removed from his own culture.

Conversely, every one of Aventurine's early negative experiences on screen appear to have been driven (at least primarily) by men.

Although the Katican tribe of course would have both men and women, the tribal societies on Sigonia appear to be on the fairly traditional side, with Aventurine's mother staying at the camp with her child while his father was the one to go out and hunt for offerings for Gaiathra. This is also supported by Aventurine asking Jade to take him to her "chief" later on. Therefore, it is likely (although of course not guaranteed) that a majority of the Katicans' army was male, and that Aventurine's early experiences with outsiders consisted almost entirely of indiscriminate pillaging and massacre at the hands of what the Avgin viewed as savage, invading warriors. In separate instances, Aventurine was traumatized by these warrior figures three times--first with the loss of his father, then his mother, and then finally his sister.

And even their hope, supposed to come in the form of the "men in black" from the IPC, completely abandoned them, leaving Aventurine once again betrayed by masculine figures that were supposed to be there to protect him. Led by Oswaldo Schneider, another cruel male authority figure, the Marketing Department of the IPC permitted the wholesale slaughter of Aventurine's people--something which we know Aventurine is now aware of.

Then, of course, the next piece of Aventurine's backstory we're given is his male slave master. I don't really need to say anything about this, do I? This man violated Aventurine's human dignity and bodily autonomy, and forced Aventurine's hand in a life or death battle for which Aventurine still punishes himself mentally, even years in the future.

In part to escape the difficulty of his situation and rise to a position where he would have enough resources to--he thought--help his people, Aventurine joins up with the IPC. But when he attempts to make contact with a powerful man in the organization, Diamond, he is instead met by a woman, Jade, who against Aventurine's own expectations determines that she will raise Aventurine up (or use him as a tool, depending on how you currently choose to interpret Jade's motivations), granting him wealth and status beyond his imagination.

(And this line in particular is interesting, because you can take it one of two ways: 1) Aventurine comes from a patriarchal planet that traditionally put men into positions of power [thereby making his own slavery an emasculating act, aligning him further with disenfranchised women]; thus, he is making the assumption that to get anywhere in this organization, he will need to work with a man; or 2) He actually was counting on Jade taking his bet and helping him right from the beginning, because Aventurine perceives women as inherently more likely to protect and aid him than men would be.)

In the end, Jade does exactly as she claims she will, launching Aventurine into a position of power while also closing golden handcuffs around his wrists. She positions herself not only as his supervisor, but as his advocate and ally. She entrusts him with her Cornerstone, a sign of significant faith in his abilities. She even seems to be keenly aware of his bias towards the mother figure, referring to him as "child" in their conversations.

Whether this is genuine or a manipulation tactic can certainly be debated (and I'm not inclined to think at this point that Jade is a genuinely good role model or selflessly supportive person in Aventurine's life), but whatever the case, women are the only people Aventurine even remotely considers to be "in his corner."

We see this even earlier, in Aventurine's call to Topaz. Like with the example of his mother and sister, Aventurine trusts in Topaz's ability implicitly, and considers her above anyone else when it comes to completing the mission in Penacony.

Although of course we don't know if Aventurine has any other friends or allies among the Strategic Investment Department, it seems very likely that Topaz, yet another woman, is the one he is closest with. At the very least, she is the only IPC character (so far) that Aventurine has a complimentary voice line for, one that shows his respect for her talent:

Over and over again, the story aligns Aventurine with female figures in positions of authority, and demonstrates that he is comfortable (although maybe not too comfortable, in the case of Jade) with relying on them and trusting their judgment, just as he did with his mother and sister.

And this pretty much goes off the charts in Penacony, where Aventurine has more involvement with the female cast than virtually any other non-female character (even the Trailblazer!). We set the pattern off right away, with Aventurine immediately being placed into a negotiation situation with Himeko, respecting her role as the Express's leader and working to get himself aligned with the Express by acquiescing to her request for support.

Then there's the fact that Aventurine is the one who finds Robin's body, an event which, although he didn't let it show too much, was almost certainly traumatic for him, given the violent death of his own sister.

Next, twice in Penacony's story, we see Aventurine seek out Sparkle for information. He may not personally like her and her comments may be both racist and dehumanizing, but Aventurine does rely on her--being the only character explicitly seeking her aid, which no one else in Penacony seems to want.

In 2.0...

And in 2.1.

Now, say it with me, guys: Aventurine built an entire portion of his grand plan around the idea that if he looked pathetic enough, a female character would absolutely come and help him. And sure enough, the women come through for him, always! Sparkle gives him the exact last clue he needs to confirm his belief that he could use "Death" to reach the true Penacony, sealing the deal for the rest of his plan.

His plan which also hinged significantly on Black Swan's involvement too, another woman that he views as, if not trustworthy, then at least intelligent and hyper-competent.

Contrast all this, of course, with the treatment Aventurine receives at the hands of Sunday, the lone opposing male character he faces in Penacony.

Sparkle implies that Sunday would humiliate Aventurine in an unmistakably sexual and degrading way, and Sunday himself professes this same desire to see Aventurine humiliated.

Then we're "treated" to the moment in which Sunday uses the Harmony's (or perhaps actually the Order's?) power against Aventurine, in a scene which is supposed to reflect an interrogation but is also, very clearly, another nonconsensual violation of Aventurine's bodily autonomy and dignity by a man. While ostensibly seeking confirmation of the Cornerstone ruse, Sunday instead subjects Aventurine to unnecessary questions about his past on Sigonia, which recall and force Aventurine to re-endure memories of his trauma.

Even if this is what Aventurine prepared himself for and planned to have happen, the pain he experiences is very real, and he suffers both the physical and emotional consequences of Sunday's assault all the way up to his "Death" and possibly even beyond.

(Also, Sunday fans please don't get too up in arms with me for this; I also like Sunday! It's okay for characters to be morally grey!)

I think there's one other interesting example I would bring up here too, and that's Aventurine's conscious decision to weaponize his own masculinity against the Trailblazer. Through the 2.0 and 2.1 Trailblaze missions, Aventurine deliberately acts in an off-putting manner to the Astral Express crew, particularly the Trailblazer, in order to build up to the 2.1 climax where the Trailblazer is supposed to view him as an unrepentant villain and attack him without hesitation.

In order to achieve this uncomfortable, villainous effect, what does Aventurine do? Exactly what other men have done to him.

This is especially apparent if you're playing Stelle because of the ingrained societal taboo of a man entering a woman's personal space without consent, but even as Caelus, it is very clear that Aventurine is leveraging behaviors typically used to show dominance: In a complete 180 to all Aventurine's other body language in the game (normally quite withdrawn, frequently in defensive postures with his arms crossed or hand behind his back, almost always standing several feet away from other people), Aventurine violates the Trailblazer's personal bubble, looming over them (Caelus was sitting in this cutscene, lol), forcing eye contact, and commanding the space while informing them that they will have no choice.

For someone who was hunted, enslaved, had his movements restricted with chains, and due to his own slight stature has very likely been towered over by others who were intentionally asserting their power over him all his life, it is clear that Aventurine associates dominant, typically more masculine-coded physically-imposing behaviors with discomfort and even villainy.

Any girl who has ever had a man loom over her like this will realize very quickly: Aventurine wanted to make himself scary so he made himself act more like a bad man.

(Yes of course I know "not all men." I'm not saying every man behaves in this domineering way or that women cannot be domineering too, obviously, just that Aventurine had a very specific image in mind when constructing a "villainous persona," and the physically controlling tactics most typically used by aggressive men toward women was his immediate go-to.)

But where does that leave Dr. Ratio, the one male character actually on Aventurine's side?

Frankly, I don't want to derail my post about how intensely Hoyo chose to hammer on the message of "Women will protect you" in Aventurine's story with a discussion about a mlm ship, but the take-away here is going to lead in that direction anyway--so yes, Dr. Ratio is the exception.

What is interesting is that he does not come across as an exception at first, and in fact initially appears as another male character being rude and dismissive to Aventurine. Like, there are still people out there calling Ratio an unrepentant racist for this one.

Of course, it's later clarified that this is an act--likely even these insults were scripted specifically to give Sunday's spying ears the "insight" he needed to exploit Aventurine during the interrogation.

But even though it is an act, Aventurine still has noticeable trouble putting his faith in Ratio. He does genuinely doubt him a few times, despite knowing that they are working together to fool the Family.

Even his voice line about Ratio confirms that he doesn't think Ratio particularly cares for him; rather, he thinks Ratio simply tolerates him because he's slightly less unintelligent than those around them.

Ultimately, the entire act with Ratio ends up being a mirror of the real scenarios Aventurine has been experiencing with men his whole life (at least as far as we are shown his life). Men abandon him to fend for himself (unwillingly, like his father, or willingly, like Diamond leaving Aventurine to deal with Penacony alone on the inside). Ratio keeps leaving Aventurine completely alone. Men attempt to humiliate him and violate his boundaries (like Sunday and his slave master). Ratio insults Aventurine's appearance and intelligence repeatedly. Men betray him (like Oswaldo Schneider and his men leaving the Avgin to die). Ratio "betrays" him.

I'm not saying when Aventurine devised the plan for their act, he consciously drew up a list of all the ways men had hurt him in the past and had Ratio re-enact them one by one, but like... that's what happened, whether or not Aventurine intended it.

And okay, the shrinking scene in Dewlight Pavilion was just for fun and probably only slightly fetishy, the devs promise; yes, it was supposed to be a joke! ...But it's also not a mistake that this is yet another instance of a male character in a glaringly metaphorical position of power over Aventurine. Aventurine's tiny in this scene! He's completely vulnerable! He's in a dangerous position and the male character could very much hurt him in this moment.

But Ratio doesn't. (In fact, his line here is supposed to be sarcastic, very ha ha--but also, what is Ratio really saying? "I won't do anything to you without your express consent." What a good guy.)

Virtually everything negative that we see in 2.1 is Ratio doing these things as an act at Aventurine's own request. He doesn't actually disdain Aventurine; his own voiceline about Aventurine reinforces that he sees Aventurine as talented and intelligent.

Whatever you think he was apologizing for in their early scene, he's the only person we're ever shown in-game apologizing to Aventurine at all.

He worked hard to "betray" Aventurine but only as he was instructed to do, and immediately checks in on Aventurine's well-being afterward, even urging him to give up the plan if it becomes too much to handle.

And then, of course, there's the note: "Do stay alive. I wish you the best of luck."

After this point, it cannot be denied that Ratio is unequivocally on Aventurine's side, wants to help him, and is not doing so out of any sense of self-gain but largely because he is a good person who simply cares about Aventurine's fate. By the end of 2.1, it can no longer be doubted that Ratio is the exception to the "gender rule" of Aventurine's life, which--the story shows us again and again--was that guidance, protection, and care for Aventurine come from women, while men repeatedly represent dismissal, betrayal, or pain.

Ratio is, at least as far as Aventurine's story shows us, the proof that men can be good, that things are not as black and white in Aventurine's life as they might appear, and that--if you do choose to ship him with or see Aventurine as attracted to men--his attraction could be validated (and potentially reciprocated) by a male figure who would not bring additional harm to Aventurine's life. Aventurine makes the final decision to live after seeing Ratio's note--the exception to the rule ultimately proves to be the last piece needed to keep him alive.

But I promised I wasn't going to derail my own post about w o m e n, so let me get to the final point, and the one I really wanted to talk about: Although Ratio gets virtually all the credit for "saving" Aventurine in the fandom, Aventurine was actually saved by, you guessed it, another woman.

Not going to lie, the reason I started this post was specifically because I wanted to talk about how Acheron and Aventurine's dynamic was completely unexpected but actually fits flawlessly with the theme of feminine guidance in Aventurine's story.

Despite the fact that Aventurine made Acheron's life much harder and actively used her as a chip in his grand gamble, she doesn't blame or chastise him for those actions. Although she expresses some incredulity that Aventurine is actually that lucky, she then turns around and congratulations him for his ingenuity, immediately supporting him despite the fact that they don't even truly know each other.

Then it gets even more interesting. Acheron, who frequently hits her companions with deep and sometimes very emotionally fraught questions, asks Aventurine: "Have you never wavered?"

We as players know for a fact that Aventurine is constantly wavering, constantly doubting himself, his luck, and whether he'll even live--or even wants to live--to see tomorrow. But we also know that Aventurine is not forthcoming about those truths, refusing to express them to anyone, even himself. The only way we hear those dark truths is through his "future" self (who by the way, is once again another male figure cutting Aventurine down--of course it's himself but it's also, from the player's perspective, once again reinforcing the message that he isn't going to find safety or kindness in an adult male presence). Aventurine almost constantly deflects and diverts when his emotions or struggles are brought to the fore (unless he's divulging them for the specific purpose of allowing someone else to weaponize them). "I'm fine," he says, like a lying liar who lies.

But he doesn't lie to Acheron.

He chooses to be completely candid with her, to lance open the deepest wound of his life--that he can win and win and win and still have lost everything. The glitz and the glamour has all been stripped away here, at the end of everything, and Aventurine finally feels safe enough to admit that he fears he has absolutely nothing in his life worth living for.

And then, we get this direct parallel: Aventurine looks to Acheron, the woman now before him, for guidance, for explanation, exactly as he looked to his sister in the past.

He needs help, he needs answers, and he is continually seeking that help from the female figures in his life, whose support and kindness echo the lost care of his mother and sister.

"Go where you should be," Acheron tells Aventurine, guiding him across the river of death just as his sister insisted that he flee through the rain toward life.

Look guys, Acheron's even the one who reminds Aventurine to look at Ratio's note in the first place because apparently being an emanator of Nihility gives you x-ray vision, but my girl just gets no credit at all for being Aventurine's real savior, come on now!! Yes, Ratio's note was the final reminder Aventurine needed that someone would be waiting for him on the other side, but Aventurine would never have even gotten to the point of being willing to read that note if Acheron hadn't stepped in and provided him an answer to his question.

She feeds him back his own answer: "Why does life slumber? To rehearse the death for which we are not currently prepared." It is Acheron who reminds Aventurine that giving into the Nihility is pointless, and that rather than simply embracing a meaningless death, it is up to humanity itself to find and make meaning by living. It's this, not Ratio's note, that Aventurine gives as his reason for choosing to go on when asked by his own younger self. It's Acheron's words that finally give Aventurine an answer--why do we live just to die? Because there are people we can still make proud. Because when we go into death, we should do so with our heads held high, having achieved our own sense of purpose in this life.

Ratio gave Aventurine a promise: Someone is waiting for you to come back.

But Acheron gave Aventurine a reason: If life is inherently meaningless, doesn't that just mean you are free to give it meaning yourself?

She saved him, as women have been saving him all his life.

Anyway, this has already been horrendously long, but really what I wanted to say is that I think it is absolutely fascinating how consistent Aventurine's writing is when it comes to portraying where his support comes from and who he seeks guidance from. (Psst, just in case you still haven't figured it out, it's women!) In virtually every instance we are shown, we see the message reinforced that women are Aventurine's greatest allies and role models, while male figures are continually positioned to intentionally or unintentionally let him down and cause him distress.

"But women playing the supporting role to a male character is nothing new, Star, why are you so excited by this?"

Because the role women are playing in Aventurine's life is not the subservient supporter and emotional crutch role that female characters all too often play to male counterparts. None of the women in Penacony or Aventurine's past were there to do the emotional labor for him, to be a trophy or prize, or to cater to his needs. They don't exist solely to help him fulfill his character motivations; they aren't following him around waiting for his next request as their only role in the plot.

Instead, with Aventurine's story, we almost have an inversion of gender roles, where the male character eschews the stereotypical "men are leaders, fighters, and stoic heroes" archetype. Instead, no matter how hard he tries to hide it and keep a stiff upper lip, it is clear from 2.0-2.1's story that Aventurine is a deeply insecure, lonely, and explicitly traumatized survivor of genocide, slavery, and exploitation. Unlike most male characters, who are very rarely portrayed as genuine victims--because come on, shouldn't men be strong enough to fight back? Shouldn't men be able to shrug it off when they are hurt, emotionally or physically? (Of course I'm rolling my eyes here!)--Aventurine is belittled, humiliated, emasculated, and victimized on-screen, roles almost exclusively reserved for women, for whom surviving victimization in fiction is seen as noble.

Meanwhile, the women in Aventurine's life take on the roles traditionally given to male characters. They're both emotionally and physically his protectors. Aventurine's sister gave her life to guard his safety; Acheron ensured he could safely pass beyond the river of Nihility into the Primordial Dreamscape. They give him the tools necessary to succeed where he could not succeed on his own. His plan could never have gotten off the ground without Topaz and Jade entrusting their Cornerstones to him. The knowledge and capabilities of the women around him--not their "feminine charms"--are what allow them to help keep Aventurine on the right path even though he does waver. Even women who disrespect him, like Sparkle, still play a positive role in his life, able to provide him insight gained with their own intellect and talents.

When he has no one to rely on and doesn't know what to do, Aventurine is able to continually turn to the women around him, asking for and receiving not servitude or fawning, but their genuine wisdom and guidance.

tl;dr: If nobody else has him, Aventurine knows this random woman he met two minutes ago on the street will have him, because the women in his life literally never let him down.

(It's just so, so good, and ultimately, it should be very clear why Aventurine's story is as popular with women as it is! A+, Hoyo!)

[momhowell]

i've been thinking for a minute about the fact that they are facing away/towards the screens in this teaser shot and it was making me think of the end of wad where dan is being retrospective about all the happy moments and memories like:

but this time they are together! I don't know, kind of picking up where wad left off thematically

@gamora-borealis @fryday i thought you might find this interesting

[nonasbirthday]

of course you can read necros and cavs as a parallel to the gender binary bc A) you can do whatever you want forever and B) yeah there's plenty of textual evidence comparing the necro-cav bond to a marriage. however one thing i think many of these discussions keep missing is the fact that most people in the nine houses are not necros or cavs and do in fact exist outside of this binary. which would make it. not really much of a binary

[b4kuch1n]

same teacher, different lessons

transcript

[espurr-roba]

big fan of when a character gets what they wanted after actively striving for it the whole time only to realize, oh no, Things Are Irreparably Worse Now

[akiacia]

gummies

[thatcatbasil]

some guy and his strange and offputting kitty cat

[sysig]

You're still standing off to the side. Somehow, center stage has shifted from under your feet without you realizing, and you're standing in the wings, performing to no one.

Starring Role (Patreon)

[moongothic]

So I rewatched the entirety of the Baroque Works saga for the first time in quite a few years, and before that I did also finaly watch MelonTeee's video essay about the East Blue Saga. And naturally I am now plagued with some Thoughts™

So in her essay (which you should go and watch if you haven't already, let's be real) MelonTeee discussed how one of East Blue's key themes was people's treasures, be it items, dreams and most importantly other people, and the way people are willing to sacrifice their lives or their own dreams to protect those who are dear to them. Rewatching Baroque Works Saga, the key, long running themes I picked up on were that of

Trust and betrayal (Laboon at the time being under the impression that his friends had betrayed him and left him to rot at Reverse Mountain; Whiskey Peak is all about backstabbing people; Little Garden was about Dorry and Broggy's friendship being too strong for either party to believe the other had betrayed them; Croc's trust issues in Alabasta being his ultimate downfall)

Friendship and unbreakable bonds (Laboon's new bonds with Luffy and co; Dorry and Broggy again; the comparison between Chopper trying to say goodbye to Luffy and co only to be denied vs Vivi's farewell)

What makes a country, a good ruler and if/when is overthrowing a ruler justified (Drum and Alabasta explore these together)

And perhaps most importantly, protecting that what is important to you. And that one in particular I feel like is the Alabasta arc's main theme on its own, as it comes up over and over again.

The Rebel Army wants to protect their country from their "corrupt king" by overthrowing him; the King wants to protect his people from needless bloodshed and tries to avoid combat; Vivi wants to protect her people but also her friends and can't find the strenght to beg them for help lest they get hurt on her behalf; Luffy wants to protect his friends and Vivi so they don't get killed by the likes of Crocodile. Protecting those you love is an important theme in this arc, it is the arc's very heart as the conflict is was born out of that love. And that's why it's so interesting to me how Crocodile's motif seems to be being a protector, a guardian. And I'm not just talking about the "Croc is based on Sobek the Egyptian crocodile headed protector god" and "Guardian of Alabasta"- if that was all then I'm not sure I'd even go as far as to call it a "motif" for him, but it comes back to haunt us again in Marineford with the ever legendary

And that is just... curious. Because Crocodile as we know him is just Some Asshole with no weaknesses and nothing he cares about except for his own ambition. So being a protector being his motif, of all fucking people, is really interesting. Like, One Piece doesn't really do shallow villians, there's always a reason to why a character has become the way they have and why they're doing what they're doing.

Kaidou was raised in an environment where one justified the reason for their existence through strenght and combat alone.

Doflamingo hates the world and wants it to just fucking burn because he never let go of the entitlement of being a World Noble.

Lucci was brainwashed into becoming a warrior for absolute justice since he was a small child.

Arlong watched his people suffer from the oppression of humans first hand and that hatred consumed his heart.

Wapol was a spoiled nepobaby manchild who thought he should be allowed to do whatever the fuck he wanted because he's King.

Why the fuck is Crocodile the way he is. Why does he want to create a utopia, a military nation powerful enough to rival the WG itself. What has driven him to to strive for that goal. Why is being a protector his motif.

East Blue explored the things you are willing to do and the lenghts you're willing to go for your "treasure", the ones you love and care about. And Alabasta is about protecting them; even if not called that explicitly, Alabasta is about protecting your treasure. On one hand, having the man with no treasure, nothing and no one he wants to protect, as the primary antagonist of the arc that about protecting your loved ones is a great juxtaposition. Like there is an argument to be made that the reason Crocodile lost is because he had nothing to lose, while everyone else in the arc had everything to lose in this conflict and thus couldn't afford it, as they'd be left with nothing. And, looking at Alabasta on its own, as a standalone arc, that does work. But when you look at One Piece as a whole, when you look at everything that came before and after, I can't help but to feel that can't be the case, can it? Surely Crocodile has something he did want to protect after all?

[desultory-novice]

I get the feeling that Adeline is the most likely to get therapy.

...She'll probably need it too... (Pausing the fun times for something dreadfully serious) -

"Pieces"

-

[Apologies AU Masterpost] [Noir's Field Trip]

[lady-quen]

Aight here goes ✨️Nothing✨️ aka the probably horribly unbalanced Mael fanspec. Keeping the necromancer green theme for the icons! Also credit to @soulbeastdragon for letting me use their post dividers as a base for my own divider 🫡

This miiiight get reworked several times *coughs* I did say I was doing it just for fun as someone who sucks severely at mmos, but if someone wants to give feedback also for fun go ahead ^^. Most details such as skill range, uptime, cd, and boon/condi amount missing for aforementioned reasons.

The spec would likely make good use of power and healing power builds and be good for cc and burst DPS or group healing. Keep in mind I'm not trying to come up with a balanced spec that fills specific gameplay niches the class is missing, but rather a spec purely for lore reasons.

Diabolist

"Devour death itself, and rise."

"The Diabolist has become closely acquaintanced with death, and chained themself to a demonic source of energy. Utilize the Diabolist Shroud to greatly enhance your equipped weapon skills, at the cost of taking constant damage."

Diabolists excel in burst damage and crowd control and gain access to Alysidomancy skills, creating spectral portals to draw on hellish chains to immobilize themselves for health and life force generation, or immobilize and pull foes for a quick kill. They also gain access to an offhand shield which provides boon stealing and pulling capabilities.

Skills and Traits under readmore.

Skills

Shield skills:

4: Putrid Aegis: assume a shielded stance, stealing boons for each time struck. 4s, vulnerable to cc

5: Hell's Gate: manifest a spectral portal upon the shield's surface, pulling and chilling the target. -> Hell's Breach: shield bash the target, inflicting daze and stealing a boon.

Profession skill:

Alysidomancy: use of demonic chains (short cast animation plays, can be cast while moving)

Slot skills:

Heal: Chains of Suppression: Immobilize yourself and gain stability and protection. Sacrifice life force to heal (chargable skill)

Utility:

Chains of Invitation: Open a spectral portal and use chains to pull out a shade*. (Can stack with normal shade. This version does not gain access to Haunt, but generates additional life force)

*similar to the Shambling Horror, the shade model is slightly altered, with a subtle blue fire effect instead of the green haze.

Chains of Esurience: Pull up to three enemies towards you, transfer a condition to each, and inflict chill. Generate life force and gain regeneration.

Chains of Terror: Stunbreak. Launch yourself towards the target and inflict fear.

Chains of Inevitability: Immobilize an enemy, corrupt a boon and gain might and fury.

Elite: Chains of Perdition: Immobilize and lift up to 5 enemies around you with demonic hooks, inflicting damage and gaining life force for each second spent suspended up to a max of 4. (Cancelable via stunbreak.) Gain 10s of might, fury and quickness. Bonus chance to trigger unique voiceline ("Let me hear you beg!")

Profession mechanic: Diabolist Shroud: Diabolists forgo Shroud-specifc skills in favor of greatly enhanced damage on currently equipped weapons. Life force does not act as a second health bar; Ticks down slower than usual but ticks down health as well.

Visuals: Diabolist Shroud spawns a fanged portal upon your chest, and every glow effect on the character turns blue. The Shroud's eyes are wide and circular. Character model and weapons gain a shifting, smoky shader.

Audio: loud chain rattling noises in Diabolist Shroud and when using Alysidomancies.

Traits:

Minor Proficiency: You can now wield shields.

Minor Adept: Faustian Bargain: Death Shroud becomes Diabolist Shroud, granting powerful offense at the cost of forgoing Shroud-specific skills and losing health over time. Gain access to Alysidomancies.

Major Adept:

1 - Self-Flagellation: Self-immobilize inflicts bleeding, but generates additional life force.

2 - Death's Gambit: Deal increased strike damage (15%) when below 50% HP.

3 - Squalid Symbiosis: Chains of Suppression now launch phantom links to nearby allies, sharing the amount healed. Reduced recharge on shield skills. Shield boon steal now shares boons with linked allies.

Minor Master: Hellhound's Ambush: Entering Diabolist Shroud grants 5 seconds of swiftness and stability.

Major Master:

1 - Fatal Hypothermia: chilling a foe additionally inflicts slow. (2s?)

2 - Malleus Maleficarum: Immobilizing foes grants might and inflicts burning.

3 - Feeding Frenzy: Using skill 5 in Diabolist Shroud additionally grants quickness and regeneration. (5 s?)

Minor Grandmaster: Terminal Lucidity: Gain health and protection when entering Diabolist Shroud. (Reasonably small heal)

Major Grandmaster:

1 - Sell Your Soul: 10% of vitality is converted to power and healing power. 10% of toughness is converted to ferocity and precision.

2 - Evergaol: immobilize effects on foes last longer. (2s) Immobilized foes take increased damage (20%?)

3 - Pandaemonium: Chains of Invitation additionally summons a second shade. Gain regeneration when both shades are active.

Associated Items:

Diabolist's Shield

Shorn Salvation (ascended shield)

Diabolist's Shackles (gauntlets)

Superior Rune of the Diabolist (power + healing power)

[illmoraineakoi]

Friendly Reminder that the Vessel Eggs are Freaking Huge.

Also Obligatory Birthplace Egg is the only Egg Asset with Void Vines attached to it remark.

It was always strange to me how large Vessel eggs really are, especially because there really seems to be little need for it. Vessel hatchlings/nymphs are Tiny. Why are the eggs so big in comparison?

There seems to be waaaay too much unnecessary/excess space in each egg if there's only one Vessel per egg. Usually with eggs, by the end of the gestation period, the spawn is cramped in there with very little excess room. Extra unused space is wasteful, and biology hates being wasteful.

This is why I've personally always subscribed to the headcanon of Vessels eggs actually being more like Egg Sacs/Egg Cases than typical eggs. Both are when, for irl bugs, multiple larva/nymphs hatch from the same "egg"-like gestational container. Egg sacs are common for spiders (they make the actual sac itself with silk; here's a great video showing how one is made.) while cockroaches are know for egg cases (Here's a video of some hatching.)

Ghost's egg clearly isn't that much bigger than the other egg assets, it's just less destroyed, so it's size is a good reference for how big all of them would have been. And it's big enough for at least a handful of Vessel nymphs to have fit inside at once.

^ Case in point.

(You could probably squeeze a few more in there if you treat it more like a the sphere it's supposed to be and also depending on the horns. The main limiter are the heads/shells, since those are the hard parts* of a Vessel; Vessel nymph bodies seem to be quite squishy and flexible.)

(*= This is assuming that Vessel shells were hard during their gestation period. There is a chance they might not have been, since newly hatched nymph insects tend to have flimsy bodies for a while. The Birthplace memory shows that Vessels had hard shells at that point, and that seems really close to the point of hatching, so it seems likely that they hatched with hard shells rather than needing to wait a bit for them to harden up. Also, Vessel biology is weirdly wonky, so irl stuff doesn't really matter.)

Also, curiously, it seems Vessel eggs have two layers:

There's the outer shell, but there's very clearly a second, inner thing that has been broken out of. The different in the breaking look from the outer shell suggests this inner layer is made of a different material. The Pale King's egg lacks this, to it's at the very least unlikely to be a Wyrm thing, or at least not a Wyrm thing on it's own. It might be something unique to the union of Wyrm and Root and thus unique to the Vessels.

It could be a Root Thing, but we know jack shit about the White Lady and exactly how much she contributed to the Vessels.

I mean, we know literally nothing about how the Vessels were made besides Pale Babies Get Thrown Into The Liquid Shadow Pit To Get Stuffed With Black Goop, but that's besides the point.

There's also two alternative theories for why the eggs are so big that I'd like to touch upon: Void Swelling, and Stunted Development.

Let's go with Void Swelling first.

In snake eggs, the eggs tend to get a bit bigger by the time they hatch. Normally, it's not too much. Sometimes, however, the eggs really seem to swell up. Most people I've heard/seen talking about this think that the eggs are absorbing and retaining water from the humid incubation environment. Sometimes it's indicative of a problem; sometimes those swollen eggs start to rot, making it clear that that gestation has failed. Other times, the snake just hatches with a lot of egg goop.

It's possible that the Vessel eggs are so large because they've just been swollen up from the Void infusing into them.

Two problems with this theory: Vessels eggs are clearly hard-shelled, and hard-shelled eggs don't swell. At least, I've never heard of them doing that, but I'll admit I'm not a bird person. Perhaps some eggs got stuffed with way too much void and popped open before it was ready to hatch.

The second issue is that the Abyss is not what I would call a humid place (or, at least, it doesn't LOOK humid), and we don't see any liquid Void anywhere near where the eggs are in the Abyss. All the liquid Void we see is to the left of Vessel Corpses, and we see no egg assets anywhere on the way to and around the Lighthouse.. This makes it rather ambiguous how the Void even infused into the eggs at all, let alone if liquid Void was involved. Given how deep the Birthplace goes, it's impossible to tell what was at the bottom of that shaft before all of the corpses stuffed it up.

Unless ambient smoky environmental Void could have stuffed into the eggs enough to engorge them, which is also a possibility. Void is weird and we know little about how it works/behaves. Still unlikely due to the hard shells, but it's a theory.

The second theory is less about too much Void in the eggs and more about not enough Vessel.

It's possible that, at the time of Void infusion (and thus, death for the gestating Pale Children nymphs) the influence/corruption of the Void caused the Vessels to just stop developing. Dead things don't grow or develop after all.

Perhaps the eggs are so large because the original offspring that was supposed to hatch from those eggs were really supposed to be that large. They were supposed to be the spawn of a Wyrm and a Root combined. Even if the White Lady hadn't of been so big at the time of the Vessel Plan, she's shown she was always capable of eventually growing large. And if the offspring took aspects from PK's original Wyrm form over his dinky bugsona, which I would assume to be possible bc DNA and Genetics, then a larger size would also potentially be expected.

Or maybe some Pale Children would have gotten the Wyrm gene while others got the Bugsona gene, which is what Hornet got, and is absolutely hilarious to think about. Imagine getting riffed on by a twelve foot high sibling bc you got dad's Short Gene.

There's one issue with this theory, and that is of course, Broken Fucking Vessel. Broken Vessel always throws wrenches into Vessel theories, it's like their favorite past time.

Broken Vessel has aged. And, Hollow, more obviously, but BV is the main confusing one. Broken Vessel proves that Vessel can age on their own, without the potential influence/assistance of the King. BV proves that Vessel development isn't permanently stunted.

The most logical solution to this issue I've seen is exposure to the Void. Vessels, on a fundamental level, are made up of Void. It is intrinsically entwined with their very physiology. They're not just walking corpses stuffed full of Void and a Shade, their very flesh IS Void and that Shade.

Case in point:

BV, out of any other Vessel outside of Hollow, is the one who could have potentially come into contact with Void after leaving the Abyss. They're found in the Ancient Basin, which at the time of the game is heavily Void tainted (likely due to the Lighthouse being off and PK fucking off to Buzzsaw Land. That light had likely been the only thing keeping the Void suppressed underneath the Basin.)

PK could have used Void to supplement Hollow's growth into adulthood because Vessels probably literally cannot grow or age without it. Hence why Ghost and all the other escapee Vessels are stuck as nymphs while BV grew a tiny bit.

Of course, the solution to the BV issue also ruins the stunted embryonic development theory too. It's a rather poor and weak theory that I've included only because I though it was a bit interesting. Thinking about what the original Pale Spawn would have been like is always interesting to me.

With that, I have just one more thing to point out.

Ma'am, how the FU--