#Might write it cause I love the trope what are we thinking loyal subjects

[amourtoken]

Jack "I'll fuck your girlfriend better than you and FaceTime you while she cums on my cock" Hughes

[blorbosexterminator]

Sergio's not gonna die, he is needed for a possible re-opening of the show. Palermo is too obvious (and that matters to pina), Raquel was already fake-killed. OTOH, Denver: has a lot more protagonism this season, with flashback and all, he is a universally beloved character (always a good candidate to kill), Jaime Lorente has been seen in some town with pedro and alba filming (prob flashback but why with those 2?). 90% sure he's the dead (if anyone).

Honestly, the only thing that would truly surprise me at this point if they indeed don't kill anyone next volume. Would be a move™, I'll give them that. But yes, I do think that they'll go with Denver too, and it has been foreshadowed to be honest. Doesn't change how much I dislike and genuinely disagree with that choice though. I don't think the actor would be up for a spin-off honestly, but anyway Sergio only has the element of surprise and the parallel with his father (the show is too fond of parallels lmfao) not much else to make his death a good choice.

And as you said, Palermo is predictable. And I imagine, with how politically aware™ the show is this season, they might also try to avoid the 'bury your gays' trope.

The thing is, most of what you and I just listed are just meta-textual reasons. I'm not saying those reasons have no place at all when considering writing choices, of course not, but I do disapprove, generally speaking, of writers taking this too much into account when writing their finales.

Sergio would be shocking to a more extent than the others, but that doesn't make him any more a good choice. Denver would guarantee as much of an angry and frustrated reaction as Nairobi (Although I honestly don't dislike Nairobi's death as much as everyone else. I thought it was well-played to an extent) and would have a strong emotional response plus parallels with Moscu, but to me it would be very misplayed.

I wasn't really talking about what I expect from the show as much as what I personally believe is a good writing choice. I most expect Denver to die, but I think Palermo is the most fitting choice.

Like sure, those things are subjective, and they change from one fan to the other as well as from one writer to the other. But just because the death of a character is predictable doesn't mean it's not the most fitting choice for the situation. Not really, I think it means the audience sees something there.

Look, before anyone starts assuming I just *want* Martín to die to see some afterlife scene for my ship, or even a parallel. Yeah, sure, preferablly as a fan of them I'd love this, but I don't think they are in any way necessar. To me, they would just be peppering that would make the death scene nicer stylistically speaking. I don't even think the show canonized the after-life or something of the sort, again I just think they are a mere stylistic choice. I wouldn't be at all actually bothered if we got nothing of the sort.

I just wholly believe the best choice to go with for both textual and meta-textual reasons is Palermo. First, the meta-textual ones, despite the fact that I disapprove of how they got there, I have to admit that the show managed to get him to be more likable this season. General audiences that have previously hated the hell out of him like him enough now. But at the same time Martín is still not Sergio, Raquel, or Denver. His death would cause some sadness and emotional response in the audience but not literal rage and feeling of betrayel, like say for example how GOT fans felt. Also, Martín now has enough alive characters that care about him that would make his death sad. It's unlikely an audience would give a shit about a character's death if none of the surrounding characters do. But now there is Helsinki, who incidentally Martín is also much nicer and caring towards this season, so Helsi would have "good reasons" to react strongly to his death, Sergio supposedly also cares for Martín, and we can say Raquel respects him. So the characters around him wouldn't be indifferent, especially if his death has value in the narrative, say an actual sacrifice for the rest of them. The show itself is VERY fond of the sort of arc that goes along the line 'Selfish character who caused harm and pain to all around them reaches selfishness and then sacrifices their life for the sake of the others.' It happened with Berlin, it happened with Tokyo. And it seems is effective enough. So if I were the writer and wanted a death that is effective but won't anger audience too much, I'd 100% go with him.

And again, a point is Martín even has something that neither Tokyo nor Andrés did, he had a very direct hand in the killing of a very beloved team member. Sure, you can say Tokyo had a hand in what happened to Moscu, but Tokyo legitimately had very little choice because she couldn't find Sergio and she had no intention to do harm, she didn't know her entrance would literally cost the man's life. Martín knew very, very well what Gandia was capable of and this is exactly why he did what he did.

Martín is narratively still responsible for Nairobi's death and took no hand in even avenging her from Gandia. That was Bogota and then Tokyo. And the character seems to be weighted by that guilt to a large extent. And I think the absolute best way for the narrative to resolve this point is by Martín dying directly to save Helsinki, who the show also made a point of also incapacitating, and I'd imagine that would have repercussions on how efficient getting out of the bank would be on him. Characters rarely get injured just for the sake of it, Nairobi's terrible injury from Alicia made her much more susceptible to Gandia, who had a huge leverage on her as she was physically incapable of resisting anything. (I imagine Monica's situation would also have repercussions--hopefully just not on Denver lmfao)

So despite generally not being a fan at all of the pairing in any way or form, and how they generally make no sense to me, with how the show is going now it's definitely best for Martín to die partially for his plan and partially for Helsinki.

Like ideally, what I'd personally most love to see and what I'd personally write a 2573 different fic versions of, is for Martín to die for his plan and for Sergio. I personally believe outside of the plan, Martín's most important relationship in his arc is with Sergio. But the show already ignored their relationship enough this volume as a first and Sergio already got the strong death scenes with Berlin and Tokyo as a second, it could be seen as an excess. But with Helsinki it's meaningful on a different level. The character Nairobi cared about the most is Helsinki (and he's also nearly as well-liked by the audience), so this would balance what he did to Nairobi in a pretty significant way, not completely out-do it, but the two acts would definitely balance each other. To both the audience and to the characters, Martín would be truly "redeemed." Which despite how much I dislike, and genuinely don't agree with it, the show is already putting a lot of focus on his 'redemption'. I don't like redemption arcs generally speaking, I don't think Martín is fit for it, and I don't think it's happening in an organic way at all, and I frankly believe it made him boring, but alas, it is what is is, the show is already half-way there, it already took that route, so the only end for it is to finish it and go all the way. It would be very useless if he ended up surviving lmfao.

And of course the other reason is for Martín's personal arc. The plan is his life's work, the thing he showed most loyality and love to from the moment he showed up 2 seasons ago, the end of his arc is with the end of his plan. Never mind how A LOT of scenes would be useless if Martín doesn't actually die for the success of the plan; the whole reason Sergio opposed it so strongly is because, in his own words, it was completely suicidal. Sure, you can say that they already proved the plan is dangerous by the army going in and all of this "war", but there was no Rio, Raquel, Plan Paris or Plan Roman in the original plan, so there would have been no reason for things to go that bad in that respect, all that happened in volume one is by direct consquence of the plan changing, so that still leaves the question why was Berlin and Palermo's plan so wrong and so suicidal if we don't take into account this war? If there is no answer and if there is no answer that is actually anchored by a death in canon, then those were really all just empty scenes. And of course it's Martín, the mastermind and engineer, the artist who crafted this poem, that has to die for its completion and overall success. Since day one, his arc has been tied intimately to this plan, we barely even know anything about him beyond it. And like, three people died for the mint heist and it was a plan made to work perfectly without a single flaw, where does this put a heist that was just full of romanticism and complete focus on the gold with disregard to the people? All of the scenes we saw of Sergio rejecting the bank heist in the flashbacks on that basis have to mean something now.

Against all of this, what does Denver have? What will his death signify? Nothing, in my opinion. The man didn't even want to be there. Also I guarantee you, if he does die for Monica the way he said, every single fan will turn against her and the hate the character will receive will be insane. Like why end the story of those two characters this way? What is there beyond edginess and grimness for their own sake?

Martín's death, even if it causes sadness, will be satisfying for his character. Besides, Martín as a character is too much like Tokyo, I don't imagine he himself would be very satisfied growing old and dying under the radar somewhere; going with a blaze now, sealing off his life's work and having his death mean something too is a much, much more satisfying ending for him.

Tldr; Palermo in a very balanced position to kill, especially that he is currently the actual leader, a position the show has given him with more space and better, much nicer spotlight now than in the third season. And I imagine with volume two focused more on extracting the gold, his role will get only bigger in that respect. He's still responsible for Nairobi's death. And he should 100% die for the Gold and the completion of his plan.

[honourablejester]

Ideas for Sorcerers (D&D)

I do love a bit of innate, chaotic magic, the forces of the world writing themselves onto people. Whether said people wanted them to or not. Heh. I will admit I’m a bit more attached to the ‘touched by cosmic forces’ angle for the sorcerer, it’s really great for backstories, but the bloodlines are also fascinating for the ‘family lore’ and ‘really adventurous ancestors’ ideas. So!

I’m mostly focused on the classic sorcerers and then the horror-adjacent sorcerers, because I’m me, and we know what I like. Apologies to fans of the Divine, Storm or new Clockwork sorcerers!

Draconic

Because dragons (and dragon ancestors) are the best. There’s a lot of fun and aesthetic with choosing your dragon ancestor too. The little scales you get with draconic resilience just make for some really cool-looking characters.

I love the idea of mixing ancestries with a draconic sorcerer. Compare and contrast. For example, a tiefling draconic sorcerer with gold dragon ancestry! Combining a ‘tainted’ bloodline with a respected one. Maybe the clan lean heavily into the lawful reputation of gold dragons, as well as a sort of internalised racism against their own darker ancestry as well. They view the fact that they were once favoured by a divine dragon as proof that their bloodline can redeem themselves of their demonic pact/ancestry, and they lean towards lawful occupations, city watch, soldiers, clergy, etc. So your sorcerer has a bit of internal conflict going on. (Also, a red tiefling with gold scales is an awesome look – tiefling skin colours with dragon scale colours is a really fun combination)

Other cool-sounding ancestry combinations: high elf & white/silver ancestry, for that ethereal immortal feeling (also fun to add stereotypical dragon traits with the white dragons, in that you’re an ethereal immortal who really holds a grudge and does not do ‘forgive and forget’), half-elf & green ancestry, for a strongly outcast, political bent, halfling/gnome & copper ancestry, because if you’re going to go for a tiny trickster you might as well go all out …

Or we have my old favourite, a tortle sorcerer with (somehow) a dragon turtle ancestor, because great-grandpa Uhok never met an older and (significantly) larger lady he didn’t want to pursue, and great-grandma Korthalok was honestly rather flattered. (Yes, I am aware that dragon turtles are not high dragons, but they are intelligent, and they’re probably innately magical/elemental enough to put a bit of magic in the bloodline)

Shadow Magic

The sorcerer’s gothic option! I do love it. Your magic comes from a strange, grim shadow realm, either because you were touched by said realm, or one of your ancestors was an entity from said realm. You get a demonic shadow hound, teleportation from shadow to shadow, and later an actual shadow form. Lots to work with there.

I feel like there’s a lot of Lovecraftian, Dreamlands, William Hope Hodgson sort of feeling here. The dark touch of a strange realm. Emphasis on isolation, desolation, alienation. Loneliness. This is also the subclass where I really, really like a later-life coming into your powers, a traumatic event causing a normal person to suddenly develop horrifying magic.

So. Any of your gothic/cosmic horror backstories. You were kidnapped and subjected to a horrific ritual. You were created in a horrific ritual (hi Warforged!). You suffered a severe, inexplicable illness as a child, and remained pale, half-dead, and possessed of strange powers for the rest of your life (I love the shadow sorcerer quirks list). An insane ancestor entered the Negative Plane and your line was almost annihilated by the resulting Nightwalker, but you somehow survived. Your parent was an extremely powerful magic user studying the Shadowfell, and you only realised much later on in your life that your childhood ‘imaginary friends’ were actually Sorrowsworn (Lost and Lonely?) that haunted your ancestral home and that your parent was somehow keeping from killing you. You tried to steal from a powerful, vindictive wizard, who flung you into the Shadowfell for your temerity, and you don’t fully remember how you survived. You slept in a barrow as a dare when you were younger, and an allip whispered secrets to you that lead you to dream of a dark realm, dreams that seemed to gradually change you as you ‘recovered’ …

This entire subclass is just very much ‘go nuts on the horror tropes and have fun’. I love it dearly.

Aberrant Mind

A new one from Tasha’s, but the other Lovecraftian/horror themed sorcerer subclass now. Which is perfectly fine, because I can always roll with more Lovecraftian horror! If shadow magic was themed strongly towards undead, Aberrant Mind seems strongly themed towards aberrations. Body horror and psychic powers! Boo yeah!

I do like the suggested origins. Particularly the parasitic twin and the imaginary friend ones. I think there’s a lot of fun to be had with those. Aberrant mind does feel more … on the science fiction end of horror, more than the fantasy? There’s a different flavour compared to shadow magic. We’re talking alien abduction and Carrie-esque childhood trauma here. Particularly when you get to the higher level actual physical transformation elements. Bit of Akira in there, bit of Innsmouth. So.

I’m liking characters who are a bit ‘aberrant’ on their own merits, even before their powers kick in as well. The outcasts from the get-go. The albino half-orc abandoned by the tribe as a child and befriended/kept safe by their possibly-imaginary flumph friend. The fallen aasimar whose blessings allowed them to survive where their stillborn twin did not, but who still feels the touch of a ghostly hand in theirs (I’m not sure how well it fully gels, but I feel like an Atropal is a very interesting concept to lay alongside this – stillborn gods and blessed, aberrant champions – celestial guides and the whisperings of parasitic twins … not sure how well it fits, but there’s a lot of crunchy concepts there)

Also, there’s your chance to have some fun with the Underdark races. Duergar, Deep Gnomes and Drow. Or sea races, when we have fun with Aboleths. Or non-sea races who still had a bit of fun with Aboleths, if we want to fully embrace the Innsmouth vibes and have normal land-based elves/humans/halflings who come over all Deep-One in the end. You come from a quaint little village on the coast, where the coming-of-age ceremony involved something of an opening of the mind. Nothing to worry about, everyone does it where you come from. Yes indeed! Heh.

And then, to bring us back to the less-horrifying end of sorcerers, and to revisit my childhood in a big way, we have:

Wild Magic

Schmendrick the Magician! Sorry, I grew up on The Last Unicorn, you’ll have to forgive me this. (Is Schmendrick actually part of the inspiration here, I’m wondering?)

But honestly, wild magic really lends itself to down-on-their-luck characters, running ahead of their own chaos, or striving to learn to control their powers. Or, on the flipside, incredibly laissez-faire types who decided to just roll with and eventually enjoy or perpetuate a little chaos. So. Tricksters, shysters and earnest young things trying to do their best.

So. You could do a straight Schmendrick. A down-on-their-luck kid who really, really wants to be a real wizard, a great magician, but their magic just will not cooperate. It has a mind of its own, and their struggle is learning to either minimise or lean into the chaos and power of it. (I like a background as a tailor/seamstress for this, partly because of animated Schmendrick’s memorable patchwork robes, but also as a little practical detail in that, if you can’t trust your magical mending not to do a ‘Sorcerer’s Apprentice’ on it every damn time, you probably would learn to darn your socks the old fashioned way)

For a variation, you could do a bit of a snake-oil salesperson sort of deal. A down-on-their-luck sorcerer turned shyster/criminal to make ends meet. Wild magic works very well as a sort of bloodline curse, bad luck and chaos following a family. A woman of the Witchbottle clan pissed off an archfey way back when, and so every girl born to the line since has struggled with wild magic. So the clan tends to move around a lot, both individually and as a whole, and individual members of it tend to work around their inevitable getting run out of town for magical mishaps in their own ways. The clan has a lot of travelling entertainers, salespeople, criminals, etc, and tend to be very loyal to each other, even if they don’t see each other all that often (concentrations of wild magic in a single area tend to be bad for said area, so family gatherings are discouraged near civilisation).

And then there are your straight trickster characters. Ones with a more philosophical approach to chaos, a belief that you should be able to deal with the unexpected, and that maybe other people should be helped along in experiencing and dealing with it too. I like bards for tricksters, but wild magic sorcerers work very well too. Heh.

I know Wild Magic might not be the most functional of the subclasses, but it’s got a direct line to my childhood, and I feel like it’s still a really fun idea.

In summary? I like the squishy spindly magic people. They’re fun.

[dutydreamed-a]

pick five tropes for your character!

01. BADASS BOOKWORM

These characters are quiet, smart, and seemingly physically unimposing, but with Hidden Depths of formidable physical and practical skills. They are Brains and Brawn, with brains dominant, if not quite Strong and Skilled.

Their physical abilities might result from applying their genius to solve physical challenges like they were math problems. Their attention to detail might also result in a Diagnosis from Dr. Badass. While some badass bookworms are surprisingly strong, others might be Weak, but Skilled, relying on flawless technique or supernatural abilities. Sometimes a bookworm can lack any special physical traits, but has access to an Impossibly Cool Weapon or enough firepower to make toe-to-toe combat, as they say, academic. A favorite weapon of the bookworm might even be what's always close at hand.

Elderly examples are often Old Masters who have spent decades contemplating philosophy and punching trees in half. Another common type is the Adventurer Archaeologist, who spends as much time studying in the University as that type does evading the poison-tipped arrows of angry natives. If the bookworms are a bit ditzy or talented but lack common-sense/etc, expect them to be Crouching Moron, Hidden Badass. If they prefer not to fight, doing so only when they must, then they have Minored in Ass-Kicking. They are very likely to wear Specs of Awesome. In a Five-Man Band specializing in Brains, a Badass Bookworm might as well be The Big Guy.

The trope is the converse of Genius Bruiser. A Badass Bookworm looks like your standard geek, but then displays a surprising amount of physical prowess, whereas a Genius Bruiser looks big, strong, and tough, then unexpectedly shows off an intellectual side. See Muggle with a Degree in Magic if their bookworm side is what's making them impressive.

02. SPIRITED YOUNG LADY

There is a certain kind of character commonly found in historical fiction set in the nineteenth and early twentieth centuries (though she can appear earlier or later, too). Her literary ancestress can be found in some of the best-loved novels of the Regency and Victorian eras. She is the girl who bends the rules just a little. Oh, she can dance a country dance or pour tea with the best of them, but she may also be a good walker or horseback rider. She may be the most intelligent girl in the story, and she is almost certainly the wittiest and the most outspoken, sometimes earning her the title of spitfire. She may be talented in more practical ways, as well: if given the opportunity, she may turn out to be a wise investor, and she may harbor talent for music, writing, or art that goes beyond drawing room entertainment and might become a means of financial independence if necessary. In rare cases, she may even solve a murder. Though she occasionally runs into some trouble, especially if she fails to obey the powers that be, she usually comes through in the end. She will be the Veronica of a Betty and Veronica love triangle, and the hero is likely to find her more enticing than her more docile sisters.

The Spirited Young Lady has the same grace and style as the Proper Lady plus an added spark of attitude or rebellion that is missing from her more-prim-and-proper literary cousin. This is what makes her such a popular character today: she is the character modern audiences can most admire or relate to. In historical fiction, she is likely to be a proto-feminist. In nineteenth-century literature, she may not speak out for women's rights generally (a few examples do), but she will speak out for her rights pretty clearly. Her willingness to say what she wants is part of what makes her stand out.

03. UNDYING LOYALTY

A character characterized by their loyalty. Can be a trait of both heroes and villains. Most of them are supporting characters, intended as sympathetic. Indeed, if used on a villain, it can sometimes be used to flesh them out and give them redeeming qualities. Alternatively, it can be negatively portrayed as a threat to conscience.

When given to a main character or one in an authority position, expect it to manifest itself in protective instinct: as a Papa Wolf or The Caretaker or someone who is A Father to His Men. When given to a Sidekick, expect it to be an unselfish willingness to support the main character. It can also be given to friends who, despite their differences, are genuinely fond of the other, and bonus points if it works both ways.

Should the object of this loyalty die, expect generous helpings of Due to the Dead as the loyal one works to honor the fallen one's memory.

See also: My Country, Right or Wrong, My Master, Right or Wrong, Thicker Than Water, I Will Wait for You and I Am Spartacus. An Act of True Love will often be used to prove how loyal one character is to another, by having them perform a great sacrifice to show that they'll put someone else's needs before their own.

Similar to but not to be confused with Blind Obedience, where a character follows unquestioningly believing their liege to be infallible. A loyal character isn't necessarily defined as a perpetual Yes-Man, and may know when to defy or contradict the subject of their devotion, especially if it's as much for their well being as their own. At times this trope might actually come at the expense of those they follow, since they will generally not obey an order that comes at their expense or abandonment.

04. STRANGER IN A FAMILIAR LAND

A character returns home after a long absence and finds that they no longer fit in, either because their home has changed too much over time, because they themselves were changed by their experiences or both. In the second case, it can lead to a But Now I Must Go sentiment. In less extreme cases, the character may eventually settle down again with some effort.

Prominent real-life examples are usually based on soldiers returning home, most commonly from World War I or The Vietnam War, or prisoners who find after serving their sentences that they can't adapt to life "outside". This is also relatively common among anthropologists and related fieldworkers who come home after a long stint in another society only to realize how bizarre their own culture really is. Another common case is people who were raised in another culture who travel back to their family's homeland — despite sharing cultural ties due to their family's past, they experience Heritage Disconnect and find themselves alienated due to their foreign upbringing.

Present in Western literature as early as in Homer's The Odyssey, making it Older Than Feudalism.

Related to You Can't Go Home Again, Never Accepted in His Hometown, Going Native, and possibly So What Do We Do Now?. This experience may be part of causing the character in question to go From Camouflage to Criminal. Occasionally overlaps with Where It All Began. Contrast Home Sweet Home — although this trope may also make the character realize that his home is no longer the place where he used to live. He may find that his old bed is too soft and he now Prefers Rocks to Pillows.

05. I DID WHAT I HAD TO DO

Sometimes a decent person has to do something bad because it is the only way to prevent something worse from happening. 'I Did What I Had To Do' generally involves an after-the-fact justification for morally questionable actions. The culprit presents this statement when he's confronted with a "What Were You Thinking?" or "What the Hell, Hero?" reaction from someone (particularly The Heart) to whom he owes an explanation.

The questioned character will generally say, "I did what I had to do." And, more often than not, nothing else.

The consequences of such an action vary, of course, depending on the work's place in the Sliding Scale of Idealism vs. Cynicism. A character who sincerely regrets the 'necessary' action is likely to regard it as Dirty Business, suffer Past Experience Nightmares, or try to forget through chemical means. Someone who realizes they don't feel all that bad about the 'necessity' may be suffering from Start of Darkness. A character who was already rather amoral might say this only because they're upset that they had to get their hands dirty.

Generally associated with OOC Is Serious Business. Compare Well-Intentioned Extremist and It Seemed Like a Good Idea at the Time. When the character's motivation is her responsibility to those under her command, see The Chains of Commanding. If the consequences shown actually justify the action, then The Extremist Was Right. A character growing too comfortable with 'doing what I had to do' is guilty of a Reverse Slippery Slope Fallacy. Can be a Moral Event Horizon if it was particularly cruel or if they're particularly callous and nonchalant about it when confronted. If invoked large-scale by a Visionary Villain, it's Utopia Justifies the Means. Also, see Just Following Orders.

TAGGED BY: @standbetween

TAGGING: @edithmaslow @wclfdreamt @papilosomnia @inqisita @highaever and you, yes you reading this right now

[lady-plantagenet]

What are your thoughts on Jaime x Cersei, Jaime x Brienne, Tyrion x Tysha, George x Isabel, and Henry VIII x Anne Boleyn? (Sorry for the long list!)

Glad to see someone else feeling charitable and letting me vent my unsolicited opinions 😂. Saved the George x Isabel for the last cause I’m sure it will be the longest lmao!

Asked Via: Send me a ship and I'll give you my (brutally) honest opinion on it: https://lady-plantagenet.tumblr.com/post/627331607624302592/send-me-a-ship-and-ill-give-you-my-brutally

Jaime x Cersei: Despite it’s fundamental flaws, it is... titillating to read. The idea of people falling in love with their own other-gender counterpart is twisted yet so intriguing. I must confess that I am not as disgusted by incest as most people, so bear that in mind. The thing is, Cersei is definitely a narcissist with a lot of internalised misogyny and this ship just feels so justified to her character.

The issue is, and as the books go on, it becomes quickly clear that Jaime’s love is not as deep and as his appearance changes, and they no longer look identical Cersei’s own mental image, Cersei’s love also wanes and then you’re hit with how shallow it was. So I ship these two... but I also don’t because they’re toxic? Honestly, book-wise I am intrigued to see what will happen, if they end up together... or they don’t... either way I’m sure it will be quite a ride. You see, I’m not emotionally invested.

Jaime x Brienne: Oh the Sapphires... Obviously anyone who cares for Jaime’s wellbeing would want him to end up with Brienne as opposed to Cersei. I read this interesting theory recently on how these two don’t actually love each other but confuse their strong platonic feelings of affection for romance. You see, that’s also an interesting take as both characters are quite bereft off opposite gender friendships.

However, I strongly ship them romantically as well, Book!Brienne (hey show as well!) is truly admirable because based on her choice in men e.g. Renly, you can see how she had still not given up on her maidenly fantasies and I just love her for that, because true love isn’t something to which only pretty women are entitled. She in many ways represents salvation for him as she being a true knight in spite of her gender, can veer him back into the path of chivalry. He is most chivalrous around her, I mean, not only because her good conduct influences but also because he performs some of the most knightly deeds by cause of her e.g. rescuing her from the bear pit. I like this ship, it’s a good trope subversion.

Tyrion x Tysha: I find this one of the more heartbreaking ships of ASOIAF, because to me it represents Tyrion’s loss of innocence.

She is a haunting figure because of how small remnants of her memory were enough to pull Tyrion into the toxic relationship he had with Shae e.g. she too hard dark hair and there was music around when he met her. Its one of those weird (as @omgellendean put it in her brutally honest ask tag answer - a character who consists of only a name), but unlike Ashara Dayne, she is not idealised and given this over-the-top tragic story. So this elusive Tysha is an entity by what she symbolises: foregone youth and a sweetness that has no place in the ASOIAF universe.

Henry VIII x Anne Boleyn: As I said in my last ask. I cannot tolerate the romanticisation of infidelity, and that is especially when the male’s spouse is a wonderful woman fit for him and has done nothing wrong. I don’t have strong feelings against Anne Boleyn herself, as I prefer to see her as ‘Anne the Educated and Sophisticated Reformer’ as opposed to ‘Anne the Seductress’. Ugh let me just say... rule of thumb for whether it’s a good pair: Do thousands have to die for your selfish desire to be together? Yes? Then probably not meant to be. Just a thought.

I think Anne knew her own mind and I like to think her strong beliefs influenced her decision to breach this marriage (no I didn’t think she was her father’s pawn gah I’m sick of that term), but they were ultimately unsuited in everything and it was a passion brought about by Henry’s caprice. My heart breaks when I think on how Anne could have been happily married to Henry Percy. I’m also tried of this whole ‘master manipulator of men’s hearts’ reputation Anne is getting. You do realise refusing to be a mistress was not being a tease as much as it was just being a conventionally virtuous woman..? The girl knew her worth.

George x Isabel: Oh god. I promise to not start writing an essay. As weird as it is to ship dead people, they are my OTP, the main characters of my main historyfanfic, and frankly the most unsung couple of TWOTR. The fact that there are no records of letters or any particularly over-the-top romantic gestures by either of them, just intrigues me more because it was very much a relationship defined in subtle deeds. If you peruse the more academic TWOTR literature you can see all the fine but conclusive evidences of a devoted relationship: He posthumously enrolled her in a guild when he stayed there with his children (months after she died), he was buried together with her and her ancestors not his, how during 1470 he sent her to Exeter for her safekeeping while her mother and sister remained at Warwick and when a siege broke out he (and his father-in-law) immediately rode south to lift it and the amount of expenses and care he put into her funeral. Not to mention, the hassle it took for them to get married: years of trying to get a dispensation underneath the king’s nose culminating in them having to cross the channel.

The thing is, it had a lot of politics behind it and to be honest I don’t find that less romantic. It was one right for both of them: for the wealthiest heiress in England and the handsome younger brother and heir of King Edward - truly no one else would do for any of them. One of the things that grabs me is the medievalness of it all, how they were bound together by what was essentially a plan to reverse the country’s inevitable transition out of ‘bastard feudalism’. You also get a sense of how this marriage despite the ultimate failure of its purpose (to make George King) brought George the chance to establish himself as a major magnate through his wife’s lands which ultimately became his main source of power as opposed to his royal status. The relative peace that ensued after 1472 shows that his status as Warwick’s political heir (as Christine Carpenter put it) did something to placate the disapointment of not becoming king. So the way I see it, Isabel’s death took from him any of the satisfaction and peace she brought with her lands and persona as he once again reverted to his old (even more than before) reckless self. Not to mention the people he executed after her death in his grief believe in her to have been poisoned (most historians believe that’s unlikely).

Aside from that, in a society where pretty much everyone strayed (even Anthony Woodville had a bastard daughter), it is quite heart-warming how the man known for his treachery, happened to be one of the only ones loyal to his wife: no bastards or women were ever linked to his name not even in rumour. As for Isabel, she is quite a shadowy figure but you get the sense she was intelligent because of the care her father took in preparing her as his heir, because of her wealth you get this sense of majesty and significance about her. The two times we can deduce anything about her personality is a true supporter of her husband: once, when deciding to treat with the Yorks behind her father’s back to reconcile George to them, second, remaining steadfast to George when he tried to squirrel her sister Anne out of her inheritance. Based on the homage she paid to her ancestors, she seems proud of her ancestry so it’s quite intriguing to think why she made the aforementioned two choices, endangering her father and sister in favour of her husband. And oh god I’m rambling, I can say even more if you can believe it but I shall stop. Overall, one might think I’m wishful thinking but frankly Anne and Richard are touted as star-crossed lovers all the time and with even littler evidence to support it (not that I don’t ship them, I do). I might be subjective, but the story of George and Isabel’s life is just so compelling...

[violetosprey]

TDDUP My thoughts on Aria

Doing one of these for each of the 5 stars in TDDUP (yes, even the ladies).  This is incredibly subjective, so I decided not to call this a review.  Rant sounds too negative to me, it’s more a mix of gushing and analysis here.  Anyways, MAJOR SPOILERS ahead because I may talk about stuff not revealed until the very end of a play through.  In fact I’m probably going to talk in a way that just assumes the person reading this has completed TDDUP.  Kinda like, “Oh I won’t give the whole story of this scene because you know what I’m talking about.”  Without delay, let’s talk about Aria.

Alright, I’ll get right to the point on this one:  Aria scares me.  In the BTD series and TDDUP, there are a lot of scary characters who do horrible things.  And honestly, I’ve been pretty good with all the characters.  I kind of think of it at times like when I went to see the new 2017 “It” movie.  The only thing that scared me in that film were the brief jump scares.  The rest of the time, it was just exciting to watch (gets your adrenaline pumping).  I loved the movie!  I definitely would not categorize it as anything but horror, but I was having fun watching the events unfold.  It’s not like the subject matter is light-hearted either.  So I guess I kind of always thought of the BTD and TDDUP characters like that.

You know that disclaimer about the beginning of these games though?  The one that mentions “This game was built to thrill,” and “If you’re feeling overwhelmed, close the game and take a break?”  Aria is the ONLY character in the entire series the made me physically take a break from the game to get my composure back.  I could not go back to her route or the game at all for several hours (and this was when I was all hyped up after the release).  These games are a choice to do and I really encourage people to take their time and not push their boundaries to an area that’s beyond their comfort level.

I did manage to recover and actually got all of Aria’s endings.  But I don’t think I will ever be able to play her route again.  It’s funny, we’ve had endings and characters involving snuff films, getting your head sawed off, being burned alive, getting ripped apart, having your soul stolen, getting turned into a living doll, getting shot, being dismembered, being left to die alone in a creepy forest, being forced to eat yourself, getting eaten (which happens more often than you think in these games), being boiled alive, being beaten to death, being chained up, being forced to observe necrophilia, being mind broken, being caged, and having insects put in your ears just to name a few.  All that stuff?  Been fine with.  The endings for me have ranged from being “meh” to “oooh that was so dark I love it.”  Not to mention I start to embarrassingly even gush over some characters (especially a certain yandere *sweats*).

But go figure that the one person to freak me out, is not only one of the completely human characters, but probably the one who...is the least threating honestly.  There is no way Aria could take on ANY of the other cast with the exception of maybe Ellen (only because...I don’t know who’d win in a fight, they’re really different).

First off, I guess I need to say what DOESN’T bother me about Aria before anyone starts to think anything: the incest angle.  To be perfectly honest, I feel pretty neutral about her having feelings for her brother.  Actually from a story standpoint it kind of helps a little better for her to have that to explain why she goes so far.  Because when I think about it, if she didn’t have those forbidden feelings, she’d come off as overprotective of her brother still yes...but I think this gives her character a better dark edge believe it or not.  Incest in real life, not a fan of.  Incest in fiction though I have a different view entirely.  I have both shipped incest pairings, as well as cringed and nearly vomited at them in fiction.  The problem is I can’t distinguish what causes me exactly to ship or hate an incest pairing.  I’ve tried to write the notes down, but there’s really no consistent criteria.  All I know is it STRICTLY depends on the the characters themselves and I think how it affects the story.  In this case, I don’t really feel like Aria and Chris would make a good pair, but I think Aria having feelings for Chris gives her more character.

So then what does bother me?  One ending.  ONE ending out of all five shook my core and made me legitimately afraid of this character:  “Aria walled you in.”

It’s weird because I’m not claustrophobic, though I do cringe at the thought of someone sewing a person’s mouth shut.  But this ending really managed to get under my skin and I had to think for awhile why exactly.  Horror is indeed meant to scare you, and I finally found something that did scare me in these games.  But it not only scared me, but disturbed me.

I think the key here is the entire scenario for the route.  Remember, the MC in Chris’s path is a verbally abusive spouse, and Aria is a VERY mad sister-in-law.  She’s there to give you your comeuppance.  So while Chris was violent, Aria tortures you while keeping you in her basement.  MC starts to realize towards the end of the path that what they’ve done to Chris is wrong, and they want to make things right.  The thing is though when you look at all of Aria’s endings...she never planned to let you redeem yourself from the very start.  The only ending where she doesn’t kill you...she sells you (fun fact: I actually liked this ending because it’s a tie in to Gurobob’s “The Hunt” game for the future- so cool!).  Chris in his endings, if he doesn’t get furious and kill you...either leaves you alone (sometimes even turns HIMSELF in) or you compromise.  This is what makes Chris a good person (just the violent snap was a bad decision).

However, I think the kicker with the ending where Aria walls you in, is the fact that you hear Chris and her talking upstairs.  You’re listening to him moving on without you and the two of them laughing happily.  Meanwhile, your mouth is sewed up, and you’re left trapped in the walls of the basement.  Aria’s not coming back to torture you.  As far as she’s concerned, it’s better if you just disappear.  So you have to spend the rest of your days, unable to scream, unable to move, listening to Chris and Aria live happily without you there.  You can never apologize to Chris.  Inevitably you’ll die of starvation and/or dehydration.

This ending doesn’t just scare me for the claustrophobia and the “I have no mouth but I must scream” trope; It’s disturbing because it’s also very sad.  Someone finally told you off for your behavior all those years, gave you your punishment, and then you are left to die.  And this is where you have to ask the question:  Did the MC indeed deserve this fate?  It’s actually a question that scares me to think about because I’m not sure I know the answer to it.  Is it pretentious to think that I as the MC would be entitled to fix my mistakes after years of abuse to Chris?  Or is there indeed a limit to how far a person like Aria should go when someone has hurt their loved one?

I think the key here is WHO is giving you punishment: Chris vs. Aria.  You have Chris, who has been the victim in all of this and is a very sweet guy.  He gets violent when he snaps, but can realize his mistake later.  Aria is not the direct victim here but a sister who cares very deeply to her brother (too deeply even).  Of course most people like Aria would want to smack Chris’s spouse in the face.  But is she entitled to kidnap and torture you?  I don’t know...The problem here is I actually don’t know all that much about Aria as a character.  She loves her brother a lot, and she helped Marcus out with his divorce because he was a friend of Chris’s.  So she’s good and loyal to some.  She’s also incredibly smart.  Beyond that though, how does Aria even act around the average every day person?  Is she like Marcus, who is “generally” a good person and a good cop, just one minor flaw (his obsessive love with MC).  Or is Aria actually more of a cruel, even sadistic, person naturally?  That’s not stuff we learn about, so it really makes me wonder if she’s the type of character that deserves to torture you.

When all is said and done though, I need to thank ElectricPuke here.  Of course Aria scares me legitimately and she’s my least favorite character in the series because of it.  But I’m really glad she’s there actually.  Listen, these are all FICTIONAL characters.  No one needs to really get up in arms about who likes what kind of dark material as long as it’s enjoyed in a safe manner (and the atrocities are not replicated in real life).  As long as people know their own boundaries and don’t push others into something they don’t enjoy, everyone can coexist peacefully.  Creating a villain character doesn’t making you a villain either (If it does, we might need to keep an eye on Stephen King :P).  There was a tiny part of me going through these games though that wondered “Gee, there’s a lot I let slide in fiction.  Is this still sane or healthy?”  So when Aria actually spooked me, I felt better.  It’s good to know that yes, I do have limitations.  They’re not easily apparent, and this game caught me off guard by the scenario.  But it’s nice to see I can recognize a stopping point for myself.

Please be respectful then to people who say “Character A in TDDUP I love, but I’m afraid of Character B.”  Everyone has their own tastes and their own thresholds.  Sometimes for reasons they can’t even explain.  By the way, I’d bet good money that Jack freaked out the most people for his hobby :P

So yeah if you read this post vs. the one I wrote about Marcus...completely opposite ends of the spectrum here, haha.  Also like Marcus, I’m not sure if I can probably judge if Aria is a good character or not because I’m so afraid of her.  I don’t hear people talk about Aria or Ellen as much as the guys, so I don’t know what the general public thinks either.  I’d be curious if people actually liked Aria and thought she stuck it to the MC well, or if people got creeped out like I did.

For any future games likes these, just remember to watch the warnings guys!  Enjoy yourself, but don’t push yourself.  I’m still looking forward to more of Puke’s character’s for sure.

Only one more character to go now!