#It is both games as a whole

[theia-eos]

So, what about Tellius in particular got you hooked on it?

TL;DR Everything. The Tellius games are very much my comfort games.

I think part of it was definitely the fact that the worst years of my life, so far, were from 2002 to 2006, and those games came out in 2005 and 2007. The messages of the games, the way Micaiah, Ike, and Elincia deal with their tremendous burdens without losing themselves, was something I desperately needed at that time in my life. Honestly, playing through those two games did more for my mental health than therapy was (recommendation: find a therapist who is a good fit for you. I have one now. She is amazing).

Beyond that, the world is just so interesting to me, there's so much to it and the characters feel very well written. Soren's adaptation from his childhood, Reyson and his combative personality, Jill unlearning her prejudices against the laguz, Shinon and Janaff's relationship, Skrimir's growth as a wiser leader. All of the character writing hits pretty hard, honestly, and there are no moments I can recall where I feel like "there is no way an actual person in that situation would say or do that," and the trauma responses felt both pretty accurate and treated with respect, not as over-top humor that falls flat. On the writing, there is just so much lore and so much to think about and before those two games, I'd never seen games with such world building or thought out characters before. I'd read books like that, of course, but to have this intersection of visuals, music, writing, and interactivity was truly captivating to younger me.

Speaking of the art, I've always loved the CG renders and how much they draw me into the world. I used to draw a lot more back when I was playing the games for the first time, and that style is something I very much used to want to emulate. The music is iconic to me as well, in that I can hear any song from the game and remember the feeling and image of the game when I was playing it and hearing that song originally, I can't do that with full game soundtracks normally. For years, I would play the galdr songs to soothe my anxiety, calm my mind and get to sleep.

The Tellius games, and Fire Emblem as a whole, are games that my spouse and I talked about a lot while we were younger and just beginning to date, and our mutual love of the series is very much a cornerstone of our relationship. My spouse has a very lovely singing voice and would sing the galdr to me if I was struggling with my mental health, or do the funny voices used for reading the scenes to lift my spirits when I was feeling down back then when the games were still new.

[ectonurites]

happy valentines day y'all

[justabiteofspite]

"Astarion doesn't do big romantic gestures."

My Durge still trying to get graveyard dirt out of her ass crack after being lovingly pounded into it by Astarion who wanted to share with her this deeply joyful and meaningful reclamation of himself after sharing a vulnerable declaration of his love, at this place he hasn't shown anyone else but her: "Then what the actual fuck was that???"

[metamatronic]

yes i’m drawing 15-years-later ib AU comics 12 years post release date. what about it.

[gummi-ships]

[vaguely-concerned]

having seen at least the rough outlines of all the romances now I have to say that I think emmrich's is probably objectively the best in terms of coherence and completeness of story arc (with the understanding that ultimately the 'best' romance is whichever one makes YOUR heart sing anyway so objectivity is a silly thing to claim that way, it just felt like it's the arc with the most well-paced focused content and the least dangling threads)... but lucanis' is my favourite haha. just. the whole kneeling before your beloved full of reverence but without any of the distance that usually implies??? his complete undramatic certainty and calm in every scene with rook after this, having spent the whole game caught between fear and longing???? mr. lives in a pantry but it says nothing about my psyche don't worry about it it's purely for tactical reasons that I keep myself contained in a small dark room not entirely unlike a cell, love among the parsnips -- finally coming to rook in their room and it's so comfortable and comforting???? after all the times rook supports and comforts him through the game he's finally able to return the same to them when they need it while being so calm and steady and it's so fucking sweet and feels so effortless and with no price attached?????? he basically assigns himself the role of your bodyguard and he WILL stab a god over it??????????????? the turn to protector (which was in his heart all along longing to get out and find a place) of it all????? he sounds like he's found himself unexpectedly stumbling into such a soul-lightening state of revelatory existential relief, full on 'you only have to let the soft animal of your body love what it loves' mary oliver style, and he goes and he shares that with rook and protectively envelops them in it when they're hurting??????????????????????????? hello for the maker's sake hello can anyone hear me?????

[dykedvonte]

I think it says something that Jimmy absolutely destroyed the crew and ship in half the time Curly was captain. Like he couldn’t even get them past 2 full months before breaking down.

Like he really couldn’t be half the man he thought Curly was.

[jacqcrisis]

The few snippets of dialogue I've seen from from Hermes in Hades 2 really reaffirms a core part of whatever his relationship is to Charon to me: Hermes is extremely invested in making sure Charon has someone to talk to.

Please say hi to him. Please make sure he's doing okay. Please look out for him. Someone needs to be checking in on Charon and be there for Charon when Hermes can't be.

Maybe it's because he recognizes Charon is a loner and doesn't have people who worry about him. Maybe its because he knows Charon has a hard time communicating. Maybe its because Charon is a workaholic and will put the people he cares about before himself. Maybe he just really fucking likes Charon.

Probably all of these. But I had that assumption in the first game, and I'm glad its canonized (or so it seems) in second. Hermes worries about his big skull faced man's mental and social well-being so much that he's asking the children of Hades to take some time out of their big important 'find my mom/dad' quests to make sure boatmen aren't too lonely without they speedy chatty birds.

[louis-guiabern]

Metaphor: ReFantazio character renders and bustups

[butchvamp]

other people have already said it but it’s really soooo lame how Flat elgar’nan and ghilan’nain are. especially when you compare them to solas and mythal. elgar’nan was literally mythal’s husband, they had children together, surely he wasn’t just pure evil the entire time? why don’t we get to see any of their regrets in the literal regret prison that was originally intended for them? (because theyre just evil, of course!) why couldn’t what happened with the titans have been an unintended tragedy born from them just desiring bodies, unknowing that it would hurt and anger the titans, with those consequences spiraling into a brutal and bloody war between them… and then we could have actually seen more of what happened during this war, the impact it had on the titans and dwarves, and the desperation to end it that led to the death of the titans and solas’s regret and the eventual twisting of the evanuris into godhood… but nah. they’re just pure evil.

[evol-astraea]

Riveder le stelle.

Inspired by Divine Comedy, Inferno, Canto XXXIV, line 139.

[turtleblogatlast]

Small but significant character moments that I actually really adore are from both the times we see the boys as tots. There is a reoccurrence that happens in both of them that I find so incredibly interesting.

For the turtle tot short, Splinter leaves the boys with weapons. In the short, Raph is the one who suggests they do “what Lou Jitsu would do” and Leo is the one who takes point when Splinter comes back to reprimand them. Leo, in taking point, is the one to defend them and get Splinter off their tails.

And then, in the flashback regarding the Kuroi Yōroi helmet, Raph is the one who grabs and throws “Skully” as a way to replace their missing ball which breaks it into pieces, but Leo is the one who speaks for the group and rushes into action to fix the teapot.

I love this for multiple reasons, but the biggest are how it shows that Raph has always been inclined toward the bold and fun and making the plans to include his brothers in what he loves and believes they’d love, whereas Leo has always been inclined to be the “Face” of the group and shoulder the attention even if it’s potentially negative all while coming up with on the spot attempts to fix the situation.

[evercelle]

now, you'll never ever forget me for the rest of your life.

[poorly-drawn-mdzs]

Siffrin plays Disco Elysium AU: Featuring backseat gamer Loop.

[gingermintpepper]

Okay, let's finally talk about EPIC's Apollo

I feel very compelled to say, first of all, that I do not dislike Epic. In fact, I am very fond of Epic and have been following its production and status very eagerly! I attend all the launch streams, I watch all of Herrans' update videos; I am, at the end of the day, a fan and I want it to be known that my words are spoken out of love and passion as much as they are spoken from a place of critique.

So really, what my problem with Epic's Apollo?

In the briefest possible terms; the choice to have Apollo be defined by his musical aspect in God Games is thematically strange. And not in the 'oh well in the Odyssey, Apollo was important to Odysseus and his family so it's weird that that wasn't kept in Epic' strange, strange in the sense that Odysseus' character arc since My Goodbye has been getting more and more obviously Apollonian and so it is positively bizarre that when we get to meet Apollo, the god seems entirely disinterested in him and his affairs. So much so that he is not even defined by any station that would indicate that he has been watching over and protecting Odysseus and his family.

What do I mean by 'Odysseus has been following an Apollonian arc'? I'm so glad you asked!

Remember Them is the last song in which Odysseus explicitly uses his sword until Mutiny where he must use it to defend himself against Eurylochus' blade. He uses it to help enact the plan to conquer Polyphemus and, due to Polites dying in that battle, Polites who wished for Odysseus to put the blade down entirely and embrace a post-war life, Odysseus also retires his sword. This is an action that symbolically separates him from Athena - and the image of Odysseus as a traditional warrior set for him in Horse and Infant - as much as My Goodbye physically separates him from the goddess and her war-ways - from this point onwards, Odysseus will no longer be leaning on Athena's wisdom or methods to solve his problems. Likewise, he will no longer be able to rely on her protection.

Odysseus thusly solves most of his upcoming problems through diplomacy and avoidance. He approaches Aeolus - a strange and ambiguous god (both in gender and in motivation) and appeals to them for help. Circe too, he approaches not with wishes to conquer or for revenge, but for the safe returning of his men and an alternate way forward. In all of these scenarios, there is some Apollonian element which is subtly interweaved alongside the influence of other gods; it is with a bow and arrows that Polyphemus' sheep is slain (and thus it is this Apollonian element which is at the root of Odysseus' spat with Poseidon), it is a vision of Penelope that warns Odysseus that his men are about to open Aeolus' wind-bag, Circe's peace offering to Odysseus is to refer him to a prophet of Apollo who has since died.

In this way, Apollo is walking alongside Odysseus for all of his journey after Athena departs - even in the Underworld, he is guiding him. It is Tiresias' proclamation that is the last straw for Odysseus, it is by the power of a mouthpiece of Apollo that Odysseus decides to embrace his ruthlessness. It is with the bow and arrow that Odysseus subdues the siren who sought to trick him, likewise, Odysseus does not attempt to undermine or escape the fate of paying Scylla's passage price - he knows of the doom about to befall the six men and quite unlike the rest of the journey until this point, he does not fight against it. This all comes to a head on Thrinacia where it is a blade which sacrifices the sun god's cow and brings destruction upon the crew once more.

My point with all of this is that when I heard the teasers for God Games years ago, it made perfect sense to me that Apollo would be Round One - he is not Odysseus' adversary and has no reason to oppose Athena's wish to free him. From other teasers about what will happen in the climax of Epic, Apollo will still be walking alongside Odysseus - it is Apollo's bow that Penelope will give the suitors to string. Likewise, it is Apollo's bow that will prove Odysseus' legitimacy and identity. That bow will be the power by which Odysseus hunts his adversaries and cleans out his palace - it is Apollo who is the avatar of Odysseus' ruthlessness, not Athena.

So tell me, truly, what was the point of having Apollo raise a non-argument in God Games? Why have him appear unconcerned, aloof and slightly oblivious? Why have him appear in his capacity as the Lord of Music at all?? And if the intention was never to make Apollo an active player in Odysseus' life like he was in the Odyssey, why keep Odysseus as a primary archer?

The answer of course is that Apollo is inextricable from the fabric of the Odyssey - his influence and favour exudes from Odysseus just as much as Athena's. In Athena's ten year sulk, it would have been Apollo who kept Telemachus and Penelope safe. It would have been Apollo protecting Odysseus from Poseidon's gaze as he travelled the seas (according to the Odyssey anyway)

Forgive me for not being excited about something that I thought was being purposefully set up. I was extremely ecstatic about all of the little Apollonian details that litter the sagas because I know where this story ends up (loosely) but all God Games did was reveal that maybe those Apollonian details were not intentional at all, but merely the ghost of the Apollo who persistently haunts those he favours, even if he cannot explicitly come to their aide in an adaptation.

[fantasykiri5]

A pair of birds of prey for days 15 and 16 of @hermitadaymay !!! Definitely not a day and a half (?) late