#The game states it's common to lose characters and companions over just about anything

[deepspacehoney]

Added colors to my old Hound and her companion's ghost form~! Almost lost that sweet dog to cosmic horror eels in the first game QHQ

[sealer-of-wenkamui]

Ciaran Character Analysis

I’ve been thinking a lot about Ciaran over the last few months, so I wanted to try and collect my thoughts and do a proper character analysis of sorts. Of course, things are highly open to interpretation in Dark Souls, so this is just how I read her character and the reasons why.

               First of all, I actually don’t think she was together with Artorias for a number of reasons. She almost certainly had feelings for him, but I think she tried to hide them, and perhaps didn’t fully understand them. For one, she simply speaks of him as a “dear friend”, and while this could also be taken as her keeping their relationship secret, there is no description or unused dialogue from Artorias’ side hinting at it either.  I also wonder if her unused dialogue where she calls him a “dear companion” was changed because it sounds too openly affectionate.  In Gough’s unused dialogue he states that she had “strong feelings” for him, which is worded like they were one sided instead of in a relationship. And while he might have realized it, Gough is also the most perceptive of the Knights, even realizing that the fire will one day fade, while Artorias strikes me as being much more oblivious. Finally, her dying words come across like the confession of a dying woman, one who was never able to say her feelings in life, so she at least will say them now that she has nothing to lose. Interestingly enough, they’re also unsubtitled- words meant not for you, but for Artorias and for herself.

               One of the biggest reasons why I think she would hide her feelings is her position. She is one of four Knights of Gwyn, entrusted with a special soul, and despite her appearance, she is considered something more than human, and seems to have disdain for humans (as seen by her dialogue when you attack her, or even just the way she says “human” in her unused dialogue).

I don’t think it’s the case that she’s human while the others are not just because she’s small, since size seems to be easily variable based on the state of the soul, for example Ornstein grows in size upon absorbing the soul of Smough, or Gael, much larger than your average person after consuming the dark souls of the pygmies. Perhaps even Artorias was a normal size to begin with.

Ultimately the gods and these demigod-like existences with their special souls aren’t all that different from humans, but the important thing is that they are considered as such, so she would be too. Humanity is constantly linked with the dark throughout the series.  And even someone as kindhearted as Artorias, who believes in the goodness of humanity, thinks of the dark as something evil, something to be feared (In fact he words it as believing them to be more than just dark in his unused dialogue). One of the four Knights of the man who sacrificed himself to stave off the Age of Dark would want nothing to do with the dark. Yet feelings, and especially feelings of love, are a very human thing (just look at the pursuers/affinity description for example). That alone seems like the strongest reason to hide any feelings she might have for Artorias, to refuse to acknowledge that human side of her, to repress them and pretend they don’t exist.

Even more so than the other knights she comes across as having something to prove, as someone that has worked so hard to reach the distinguished status she has and doesn’t want anything to take that from her. The lightning arrow description mentions that female knights were rare to begin with, and she was able to work her way up to being one of Gwyn’s most trusted. The porcelain mask description mentions how determined she was to earn it as a decoration of honor (I imagine she first became an especially distinguished Lord’s Blade before becoming one of the four), and the English description actually leaves out another interesting fact- that it’s decorated with her own hair. The wording makes it sound like she cut her own hair to decorate that mask. This makes it seem like she wanted to stand out and make a name for herself- giving herself a distinct look that would come to be feared by all enemies of Lord Gwyn.

On the level of character design, her mask is what she’s most known for, the hornet ring description in DS3 even drawing attention to it. This comes across as a very deliberate choice reflecting her character- as she is a woman whose mask is more than just physical, someone who is perpetually hiding her “human” side. Her mask gives her an otherworldly look, like something beyond humans and reflects her “divine” self. Her purpose in life is to strike down any and all enemies of her Lord, and she has worked so hard towards that alone, almost as if she’s trying to become the mask she wears.  Even though I think she might be able to relax a little around the other knights and especially Artorias, she comes across as a very serious woman that doesn’t truly know much about herself outside of her job. Interestingly, her face under the mask is just the default female face in-game, as if she truly isn’t meant to be seen without it!

No matter how much she tries to repress her feelings though, a mask is still just a mask, and they don’t disappear just because she wants them to. She has strong feelings for Artorias, a darkness she desperately wants to hide. Despite being a Knight of Gwyn, I tend to associate her with the darkness as a result, and even her name may be a reflection of that as well. Ciaran is common Irish boy’s name (Ciara is a girl’s name but she specifically has the masculine form of the name, a decision I also think was intentional and may tie into her being the only woman of the four and how rare female knights were) and looking around, she doesn’t seem to be named after any famous Ciaran as far as I know. So, what is the meaning of the name? Little dark one. A name associated with darkness seems especially significant in this series, and her struggle with her own humanity is central to her character, something that even her name itself betrays.

Since female knights are apparently rare, and she has an especially high-ranking position, I think she would also want to hide her feelings out of fear of being seen as just a girl in love. I also think its interesting how the hornet ring description also draws attention to the fact that she’s the only woman of the four, and how her name is almost exclusively used for boys, and I wonder if she went by the title of “sir” as well. At the same time, her appearance is the distinctly feminine look shared by all the Lord’s Blades, even using her own hair as well, so it’s not something she’s hiding either.  

In addition to being the lone woman of the four, I also got the impression that she’s the youngest and last to join the Knights, which may further add to the feeling of needing to prove herself.

The main reason why actually comes from her speech pattern, when you compare it to the rest of the characters seen in that time period, it stands out. While Elizabeth, Dusk, Gough, and even Artorias all speak in an old-fashioned manner, she noticeably does not, except for “May the Lord guide thee” which sounds like a set phrase anyone serving Gwyn might say. If it was tied to status, then she would speak that way as well, she’s hardly trying to hide it (and besides we see other characters opposed to the gods that speak in the same way, like the hollow outside the Ringed City or Yuria). Maybe she did come from a more humble upbringing and that could be why, but with how varied the characters that do speak like that are I don’t think that’s it (and even some clearly noble characters don’t, like Lothric or Oceiros). So I wonder if its simply because she was born later once speech styles had changed.

Her position also makes sense if so as well, she’s an assassin, so even if she wasn’t around until after the Age of Fire had begun and Gwyn had gained status, that’s exactly when you would need a skilled assassin to eliminate your enemies. In other words, she’s not a dragonslayer, so it still makes sense if she is younger.

Going back to her feelings, the way I see it is that Artorias being consumed by the Abyss and killed is what finally forced her to face them- she’s not able to recognize just how strong they are until the man himself is gone. Perhaps she planned to kill him herself as she was in the area, but realized she couldn’t, or rather that she would almost surely hesitate and get herself killed. In a way, its almost a relief the chosen undead came along and killed him instead, she understood it was something that needed to be done, and though she doesn’t seem to like humans very much, she doesn’t hold anything against you.  You find her immediately after killing Artorias, so she almost certainly would have been the one to find his corpse and make that small memorial, as if she wanted to make sure it would be her and no one else to find him. Despite being the kind of person who would always be watching her back, you find her kneeling in prayer, not so much as turning to look at you when you approach, and you can even easily attack her from behind in such a state. As if simply being there in prayer was the most important thing in that moment- and she surely has a lot of thoughts going through her head and a lot of feelings hitting her all at once. At this point, she can’t lie to herself, and even if she couldn’t confess while he was alive, if you take her life, she’ll at least do it before she dies.

When you speak to her, she seems to have no interest in you outside of obtaining Artorias’ soul, with only his will stopping her from taking it from you. She claims she wants to pay proper respect to him with it, but at the moment, his actual grave hasn’t been made yet, so I imagine she might take it into herself for a while until that point.

As to her eventual fate, I do think its likely she’s the corpse found behind his grave that has the hornet ring. At first I wondered why someone of her status wouldn’t have a proper burial, but in time, not many people are going to that grave, and those that do don’t return, so it may simply be she died after it was forgotten, and her corpse was never found.

The fact that she will give you her tracers if you give her his soul implies she gives up being a Knight of Gwyn (they’ve half fallen apart at that point anyway), but she doesn’t strike me as the type to kill herself right then and there, I think it would be a slow wasting away and curling up to die behind the grave of the man she loved. She (nor Gough) drop the special souls that they should have as part of the four… and while it may simply be to not further encourage people to kill them, if that soul is what gives them a long life (Ornstein is somehow still around after all) she may have purposely given it up so that she may eventually die… or maybe its after she receives his soul and she keeps both hers and his at his grave.

Finally, her ring ends up in the untended graves in DS3, and while there are a number of reasons you can come up with for how it ended up there, I feel like the most important part is the symbolic meaning behind it- for it is found by a grave with a Farron greatsword, one of the types modeled after that of Artorias’. It feels as if even in death, her feelings linked the two of them together.

While not nearly as direct, even DS2 has a parallel to Ciaran in the form of Alsanna. Much like Ciaran, you find her kneeling in prayer mourning her lost love, who also happens to be a left-handed swordsman who sacrificed himself and got corrupted and even has (several) animal companions. (DS2 also is where its mentioned that Artorias was left-handed, and its consistently used to mark characters paralleling him, even in Bloodborne with Ludwig.) Her soul even gives you a pair of curved swords. Parallels can also be drawn between the other three knights and people closely associated with the fragments of Manus, but only Ciaran parallels the child of dark herself, further deepening her association with the dark.

More directly, DS3 has the Dancer and Vordt, two knights who seem to honor Ciaran and Artorias’ legacy, and were always seen together- in fact you can see phantoms of what seems to be them before they were transformed into beasts walking the streets of Irithyll together (Vordt too, is left-handed). Despite how she tried to hide her feelings, I think it may have been her ring that betrayed them, so they ended up being remembered together. The Pontiff Knights in general also have a great deal of similarity to the Lord’s Blades, somewhat in armor design but mostly in their job, being described as Sulyvahn’s “punitive blades”. The Dancer herself most notably has two curved blades that look remarkably similar to Ciaran’s tracers in shape, as well as being gold and silver, even wielding the gold one in her left hand like she did.

There are probably more little details I could add, but this is already long, and I’ve covered the major points that I’ve thought a lot about. I tried to explain my reasoning as best as possible too, but there’s plenty of stuff that’s unknown and that’s half the fun. Feel free to comment, I love Ciaran and I love to think about her and discuss her!

[lesserpandeu]

Software Instability | prologue

fandom: NCT

genre: Sci-Fi/Detroit: Become Human AU!, android AU!, probably lots of angst + fluff in later chapters

pairing: Mark x Reader (probably some Donghyuck x Reader if you squint super hard, especially in later chapters)

words: 3,262

warnings: gun violence, death, cursing;

summary: The amount of deviant cases your department has been receiving is concerning to say the least. After pressuring the android manufacturing company, CyberLife, they send an android to assist your department in finding out what is causing the deviancy in so many androids lately. His name is Mark, and as soft as he seems on the outside, you can’t help but be utterly terrified by him. 

A/N: This story is based on the world of the video game “Detroit: Become Human”. Just replacing Connor (one of the main characters) with Mark and putting y/n in it. You don’t need to know anything about D:BH to read the story, as I explain everything the reader needs to know as the story progresses! While it doesn’t follow the plot word for word all the time, sometimes I need to look up the cutscenes and repeat them to help progress the plot (like the negotiation scene in this prologue). Warning: It might take me awhile to update, but it also it might not, lol. I’m awful about staying on top of fics. Enjoy!

prologue: “My name is Mark”

One more fucking deviant case and you’d lose your goddamn mind.

It was only a matter of time until the deviant jumped off the balcony with the little girl in his arms, sending them both to their dooms. It was a little more imperative for the girl, considering she was actually alive. The android was expendable, but given the fact that it was holding her hostage outside on the balcony, that was going to prove difficult.

Every SWAT officer that’s gone out to stop it was met with bullets aiming with perfect accuracy and an inability to get closer, risking the girl’s safety.

“One more team, just send one more, we’ll get him this time-” your colleague was suggesting as the both of you stood in the office of a once peaceful family home, before the android turned on them and killed them all, except for the little girl he was currently holding near the edge of the pent suite’s balcony.

“It didn’t work the first two times, it won’t work a third, Taeil. We wait for the negotiator to arrive to diffuse the situation-” Donghyuck, your other colleague cut Taeil off before he committed the same offense.

“What’s a fucking negotiator going to do?! That deviant was beyond the point of reason the minute it went nuts!”

“Both of you, shut up,” you groaned, holding your fingers to your temple. You were currently sitting in the office chair, trying to sooth yourself from one of the most stressful moments in your career, no doubt. “No one likes the situation right now, cause frankly, there’s currently a 5% chance that this kid is making it out without falling to her fucking death. If we go against orders and things turn as sour as we’re expecting it to, we’re in for a lot of shit from the head of department that ordered this new approach. We wait, and we obey orders.”

“Oh, nice, so we’re just going to sit and watch as a blue headed android just hops off the roof murdering another innocent human, further dispelling the faith the people have in their safety around androids, only further increasing the rate of android deviancy and cases we’re already overwhelmed with, yeah, you’re so right.”

Taeil had a reason to be stressed out about this. Androids had been implemented into society now for about 30 years. Nearly everyone had one, if they could afford it. They were perfect companions, workers, and entertainers. They came in anyway you could want them: tall, short, dark, light, young, and old. You could program them however you wanted. They could be funny (honestly, you never thought comedic androids were actually funny), kind, obedient, or even sarcastic.

It wasn’t until three months ago that a crime involving an android popped up in your department. An android turned on it’s human, stabbing her fifty times in the chest. It was so shocking at the time, which made it worse when just three more cases appeared in the next two weeks. Now you're on your seventh case, though there have been many more handled by other factions of the PD. One thing all of these cases clearly had in common: deviancy.

The only thing every single android was required to have in common was obedience. It was never allowed to go against its owner’s will. Technology isn’t supposed to disobey. Bad things happen when that occurs. And boy, were they happening. Like the bad thing happening right now.

“Could you- Would- Piss off,” you end up yelling, earning a flinch from the SWAT officer that walked by the open door. They were standing by as the final resort. 

“I just want this shit to be over, thank you very much,” Taeil defensively crossed his arms and leaned against the only wall not hidden by dressers with the family’s pictures. It was suffocating to sit in a home just so freshly destroyed.

“Well, it looks like it will be, cause guess who’s here?” Donghyuck mumbled.

You looked up from your shoes to see what he was talking about.

An android dressed in a stereotypical investigative uniform strode up to the door frame, stance practically perfect. No one needed the glowing serial number on the pocket of his jacket, the blue band wrapped around his arm, or the LED ring on the side of his temple to know that he was an android. He had black hair with bangs parting out, and high cheekbones. He looked young, he seemed to have been designed with a baby face in mind. If he were just a human, he’d probably be a teenager or a college student.

He smiled. It looked so realistic. Androids look just like people these days.

“Oh my god,” Donghyuck responded. The android looked puzzled, blinking a few times as his smile dissipated.

“I didn’t say anyth-”

“They sent a fucking android to talk us out of an hostage situation cause by an android?” Donghyuck exasperated.

“Okay, enough, we need to get that girl out,” Taeil said. “What are you doing?”

“Hello. My name is Mark. I’m the android sent by Cyberlife,” he introduces himself. His voice has an odd chirp to it, like he was programmed to come off as friendly as possible.

“I hate him already-”

“Donghyuck, stop it, we don’t have time.”

“You’re damn right we don’t,” Taeil had enough and walked out the room, squeezing by Mark standing in the doorway. “This way.”

Mark followed him, allowing you and Donghyuck to do the same. You walked into the living room where the sliding doors that led to the balcony were located. The bodies of the last SWAT team lay on the ground by the pool, one fallen inside of it. No one in the room was fazed by it.

“The situation,” Tail started. “The Acharya family is home, their daughter is coming home from school. At 5:24 pm, the father is murdered by the android on the couch with a handgun. The mother follows after coming out of her room to see what is going on. The daughter returns home at 5:40 pm.”

As Taeil explains, Mark begins looking around the apartment. Any other time an officer would ask what the hell he was doing, but since Taeil was talking and didn’t seem to care, you figured it was fine. He went into the kitchen, as it was combined with the living room in a big space. He notices the stove top, which obviously causes you to be aware of it. Water is boiling, who knows for how long at this point. He turns it off, setting it on one of the inactive burners. You raise an eyebrow but nearly instantly forget about it. 

“Then, she calls the police but is then taken hostage by the android. They are currently outside, on the edge of the roof ready to fall off any minute now. He has held her at knife point the whole time, making the sniper unable to shoot. Your job is to get him away from her, preferably without killing her.” A brief, but not long at all, silence looms before Mark says something.

“Do we know the android’s name?”

“...uh”

“What kind of question-” Donghyuck laughs, cutting himself off as if in frustration.

Mark doesn’t miss a beat, “I’m going to need more information to ensure the best approach. There is currently only a forty-eight percent chance of this mission being a success.”

“Yeah, and the longer we wait, the more quickly it becomes 0-”

“Five minutes,” you state. Sure, maybe Taeil should have the final say since he is your senior in both age and experience, but you don’t care right now. Taeil sends you a glare, momentarily staying silent before letting out one of the most stressed out sighs you’ve ever heard him breath.

“Five minutes, or I’m going out there myself.”

 Mark seems to briefly look at you and Taeil as to acknowledge your permission before further inspecting his surroundings. Taeil walks off, going to talk to a SWAT officer. Donghyuck is still outwardly paranoid, leaving the room as he tries to cool down.

You? You watch Mark. Someone’s got to make sure this beta testing droid doesn’t do stupid shit. Okay, maybe less so that and you were just curious.

He walks over to the body of the father (still on the ground, you tried to ignore it the best you could), and takes the holographic tablet out of his hands. He unlocks it somehow, looking through it. Soon he puts it down and goes off somewhere. You follow him, he doesn’t seem to pay you any attention, though.

He, interestingly enough, goes into the girl’s bedroom, indicated by the giant teddy bear residing in it. He looks around, noticing a few things. Frankly, you have no clue what he was doing. But it was too much of a bother to prod him for answers. 

He picks up a different tablet this time, unlocking it. Audio playback begins, drawing your attention. You then notice that it’s actually a video playing. You can see it from around Mark’s torso, given the angle created by standing in the doorway of the bedroom. What on earth was he doing?

“This is Jaemin!” the girl’s voice declares. The video shows her face, that then pans out to show her arm around an android. The blue-haired one you were dealing with at this very moment. But his hair was brown in the photo. Not strange, given most androids had automatic hair color changing options. “The coolest android in the world! Say hi, Jaemin!”

“Hello,” he smiles widely, waving at the camera. They both look so happy. While the video quality is significantly good, the slight distortion of the medium causes ‘Jaemin’ to look practically human, if it weren’t for the commercial android uniform. It was illegal for an android not to wear a uniform identifying that they were digital animals.

Mark puts down the tablet, ending the video playback and continuing his short investigation. He proceeded to the next room, doing just about the same thing there that he did in the last one. He kept this up until Taeil finally yelled out that the five minutes were up.

You followed Mark until you were just in front of the sliding doors, where Mark was about to walk through to diffuse the situation.

“He’s heading out now,” Taeil spoke into his receiver. With that, he opened the door. A burst of wind came through when the door opened, likely from the helicopters that had been circling around now for over an hour.

“This is going to go terribly,” Donghyuck spoke calmly, finally.

“Have a little faith, will you?” You shoved him with your shoulder, arms crossed.

“Just because you think he’s cute doesn’t mean you should have any faith, (y/n).” You hit him on the side of the head. “Oww.”

“I don’t think he’s-”

“The two of you need to shut up, we can’t hear what’s going on.”

The minute Mark stepped out, a gunshot rang. Donghyuck instinctively grabbed you and pulled you down, pulling the both of you away from the door.

“STAY BACK!” you heard the android yell out. You recovered your wits quickly, trying to look at Mark. A new blue blood stain is on the floor right outside the door, coming from Mark. You naturally looked to see if Mark is okay, even if it logically wouldn’t make sense for him to be in pain. He is looking down at the fresh wound on his chest, without any hint of pain in his face. It gave you chills. Androids didn’t feel pain, and as long as they could function with all their parts working, they could take anything.

“Holy shit,” you heard Donghyuck whisper.

“MOVE ANY CLOSER AND I’LL JUMP!” Jaemin yelled, holding the girl with his other arm. She screamed, begging for her life. It’s horrifying to see.

“Get into position, go, go, go!” Taeil speaks hurriedly into his receiver, likely speaking to the sniper squad. The SWAT team that stands by lines up behind the door, ready to burst out at any moment. The situation is at its highest level of intensity that it’s been tonight. 

This is it.

“Hi, Jaemin!” Mark yelled over the noise. So he proves he knows the android’s name, you think. So what? “My name is Mark!”

“How do you know my name?!” Jaemin questioned, the gun still pointed towards Mark, and frankly the rest of you as well.

“I know a lot of things about you,” Mark continued yelling over the helicopters outside. “I’ve come to get you out of this!”

A second later, a helicopter swung around too close to the balcony, producing an even higher gust of wind and blowing the lawn furniture off the ground. It doesn’t hit anyone, but it definitely irritated a certain deviant.

“I know you’re angry, Jaemin,” Mark spoke again. Yeah, why the fuck was he so pissed? You thought to yourself. 

“But you need to trust me, and let me help yo-”

“I DON’T WANT YOUR HELP! NOBODY CAN HELP ME, ALL I WANT IS FOR ALL THIS TO STOP I-... I JUST WANT ALL THIS TO STOP!” He pauses a moment before becoming aggressive again.

“Are you armed?!” he asked.

“I have a gun,” Mark responded. He slowly reached behind him, pulling a handgun out before tossing it aside. You’re deadly silent until Donghyuck impatiently interrupted your focus.

“Is he fucking crazy?”

“He’s doing great, now shut the fuck up,” Taeil whispered angrily in his and your direction.

“There,” Mark said gently, despite keeping his voice loud and clear. “No more gun.” Another short silence settled before he kept slowly approaching the deviant, or Jaemin as you guess his name was.

“They were going to replace you,” he continued talking. “That’s what happened, right?”

“... I thought I was part of the family,” the deviant pathetically confessed. “I thought I mattered… But I was just their toy! Something to throw away, when you’re done with.”

“I know you and Kiara were very close,” Mark sympathised. Or at least he appeared to. Kiara? That must be the girl’s name, you reasoned. Did he find that out when he was looking through stuff? “You think she betrayed you, but she’s done nothing wrong-”

“SHE LIED TO ME!” the deviant cried. Mark stopped, doing something unexpectedly. He looked away from the hostage and the deviant, to one of the officers on the ground. He leaned down, observing before speaking out again.

“He’s losing blood. We need to get him to a hospital or he’s going to die,” he said. The action was very weird, in your opinion. But maybe it’s part of his tactic. You guessed that’s what Donghyuck also thought because he wasn’t saying anything.

“All humans die eventually,” the deviant said coldly. It nearly gives you a shiver. “What does it matter if this one dies now?”

Mark seems to ignore him, starting to turn the officer on his back and do something. Another shot rang, nearly hitting Mark and the officer.

“Don’t touch him!” the deviant yelled. “Touch him and I’ll kill you!”

“You can’t kill me,” Mark stated. “I’m not alive.” He continues whatever he’s doing, seeming to forget about the mission for a moment.

“Whatthefuckwhatthefuckwhatthefuck-” Donghyuck starts whispering. You covered his mouth with your hand, trying to shut him up. How the hell did they let such a hot-headed person get on the force?

Mark finishes what he’s doing, which you guess was to try to stop the bleeding. He stood up, a tie now gone from his uniform. He continues to approach slowly.

“It’s not your fault. These emotions you are feeling are just errors in your software.”

“No… It’s not my fault. I never wanted this. I-” Jaemin goes limp for a moment, hand with the gun falling to his side. “I love them. You know?... But I was nothing to them,” he picks up his gun again. “Just a slave to be ordered around. AUGHH-” he suddenly bursts. “I CAN’T STAND THAT NOISE ANYMORE!” The helicopters. Obviously. They’ve been around for hours. “Tell them to get out of here!”

Taeil spoke something into his receiver in order to do so, but you are hardly listening anymore. Mark is so close. Soon the helicopters left and the negotiation continued.

“There,” Mark assured. “I did what you wanted.” Mark is practically standing in front of him at this point. Jaemin seems hesitant and does not know what to do.

“I-” he stuttered. “I want everyone to leave! A-And I want a car. When I’m outside the city I’ll let her go.”

“That’s impossible, Jaemin. Let the girl go, and I promise you you won’t be hurt.”

“... I don’t want to die…” Jaemin began to cry, his voice becoming softer.

“You’re not going to die,” Mark assured. “We’re just going to talk. Nothing will happen to you.” Mark stops before uttering his next phrase with utter seriousness. “You have my word.”

Everyone held their breath. The silence is long and infuriating. You felt Donghyuck radiate heat from your side. You can only imagine you weren’t far from doing the same thing.

“... okay,” Jaemin was still crying. “I trust you.” He slowly let the girl down, still holding his gun but not pointing it at anyone. She shook, running only a few feet away from the edge before collapsing onto the ground. There was another moment where Mark and Jaemin looked at eachother. Unfortunately, everyone on your side, including Mark, knew what was about to happen.

A louder shot rang out from one of the snipers, and Kiara screamed. A large gaping hole appeared in Jaemin’s side, the force of the shot causing him to stumble around. Not a second later, another shot went off, right into his chest this time. It’s followed by a third. Jaemin wavers, falling to his knees. With three different shimmering blue gashes across his body, he struggles before looking back up into Mark’s eyes.

“You lied to me, Mark.” He tries to say it once more, before his voice fails and he shuts down.

You don’t move and neither does Donghyuck. You can’t believe what just happened. That had to be the most intense moment of your career and you hadn’t even started. Donghyuck was probably on the same boat. Taeil was the first one to move, coming onto the balcony and walking past Mark. Mark just turned away and walked back into the flat. 

You see his face, completely and utterly stoic. Even Taeil looked back, though his face doesn’t show it you know he’s as stunned as the rest of you that just saw everything that took place. And how this android that just appeared so empathetic, compassionate, and kind enough to save an officer’s life just walked away like it was another task completed. It reminded all of you that this wasn’t a human. It was just an android.

If you couldn’t be more awe-stricken and terrified, Mark’s eyes flicker to yours so fast you hardly know if it was just your imagination. But that is all he does as he leaves just as casually as he entered.

“Jesus Christ,” Donghyuck can’t bring himself to get up, now resorting to sitting on the floor. “I really don’t like him now.”

For once, you would have to throw the towel in. Mark was utterly terrifying.

[orsino-the-enchanter]

THE POSITIVE & NEGATIVE; Mun & Muse - Meme.

fill out & repost ♥ This meme definitely favors canons more, but I hope OC’s still can make it somehow work with their own lore, and lil’ fandom of friends & mutuals. Multi-Muses pick the muse you are the most invested in atm.

My muse is:   canon / oc / au / canon-divergent (the mere existence of a post-canon verse is diverging from canon)/ fandomless / complicated

Is your character popular in the fandom? YES / NO. It depends on what you mean as popular. Whoever has ever played DA2 knows Orsino because he’s important to the plot (especially in act 3) but the opinions on him are conflicted. like they are on any morally gray character. Still, he is a side character who has like 5 scenes in the entire game, so I believe he’s not getting the attention he deserves.

Is your character considered hot™ in the fandom?  YES / NO / IDK. Orsino certainly is not everyone’s cup of tea, I can say that much. Physical appearance-wise he is very attractive for what he is: a stressed/depressed middle-aged DA2 elf who has seen SomeShit™ in his life. He has aged way more graceful than what he could have, but still, he is in his late 40s/early 50s, which can be a deterrent factor to some; also, the elves in this game have distinctive inhuman-like features that people either love or hate. Personally, I think that there is harmony and beauty in his features, which makes him weirdly pretty to look at and i love the fact that they gave him an hourglass body shape. However, Orsino’s true beauty lies in his personality and his calm, collected, polite demeanor. His voice is another huge bonus.

Is your character considered strong in the fandom?  YES / NO / IDK. I mean... he’s a First Enchanter who keeps his knowledge on blood magic and necromancy a secret, there are hints that he’s a somniari mage throughout the game, he has some very badass scenes where he kicks the asses of bigger/stronger opponents than himself when he’s outnumbered AND he has one of the 2 boss battles in the finale of the game. There is no doubt that he is a force to be reckoned with in battle.

Are they underrated? YES / NO / IDK. I think he’s criminally underrated not just by the fandom, but even  the creators of the game, who gave him no backstory, only a handful of scenes and butchered his character just to add another boss battle.

Were they relevant for the main story?  YES / NO. Meeting him along with Knight Commander Meredith and Viscount Dumar earns you an achievement (the “friends in high places” one). He is one of the main antagonists in the third and most crucial part of the game and you can either choose to side with him or oppose him.

Were they relevant for the main character? YES / NO / THEY’RE THE PROTAG. Lots of elements in the storyline depend on the protagonist’s political views on what’s going on in Kirkwall, and since Orsino is a prominent political figure, he is relevant to the protagonist’s views. He can be either an ally or an opponent, depending to what the protagonist’s views are. Also, he had been involved to the protagonist’s tragic loss of their mother -albeit indirectly-, since he was an informant of the murderer.

Are they widely known in their world? YES / NO. He’s a controversial but VERY well-known public figure, to the point where he can be recognized in the streets -even if people have never seen him before, they can recognize the staff he carries, his distinctive robes and the fact that he’s an elf (an elven first enchanter is news in itself, so he doesn’t go by unnoticed). The protagonist has heard of him -along with rumors and gossip surrounding him- before he had the chance to meet him in person. He has such influence and people skills that he even carried out a rally to overturn the Knight Commander’s rule of the city and almost succeeded.

How’s their reputation?  GOOD / BAD / NEUTRAL. Depends on who you ask. Mage sympathizers see him as a brave advocate of his people’s rights who wouldn’t hesitate to put his life on the stake for them. The common folk and the city authorities see him as a potentially dangerous troublemaker and rebel.

How strictly do you follow canon? — I try to follow canon mostly in my canon verse, while taking some artistic liberties due to the lack of a concise backstory. In post-canon verses and au’s, I have taken all the insights on Orsino’s personality, views and way of thinking and I have adapted them to fit each verse’s context.

SELL YOUR MUSE! Aka try to list everything, which makes your muse interesting in your opinion to make them spicy for your mutuals.  —  For him ‘mage’ is not just a term describing his abilities, it is also a term describing his personality as a whole. He has that elegance, cultivation and mystical charm about him; he is morally grey yet charismatic; witty yet cunning and certainly not one to be toyed with. Despite the exterior of a powerful yet restrained scholar he maintains , however, there are many layers to him and each is darker than the last. He can be both the erudite conversation partner you’d like to have an existential conversation with over a glass of good wine, a trusted advisor you’d confide your problems to and a force to be reckoned with who would obliterate you or your enemies in battle, depending on the situation. Still, the First Enchanter has some very vulnerable sides too, but he tries to keep them to himself.

Now the OPPOSITE, list everything why your muse could not be so interesting (even if you may not agree, what does the fandom perhaps think?).  — In the main verse he’s a minor character; with not as much involvement in the protagonist’s life as other characters (such as the companions). He’s also kind of secluded and not in touch with whatever happens in real life -not just because he lives in the Circle, but because he has been institutionalized, like any other person who has been brought there from a very young age. Also, there is the age gap which can make him a bit harder to reach than someone younger.

What inspired you to rp your muse?  —  When I played DA2 for the first time, Orsino piqued my interest because he was the very definition of a tragic figure.  He was the only voice of reason in the madhouse that is Kirkwall; yet he was fighting alone for a just cause that was doomed. He had the whole city and the authorities against him; still, he did not give up trying to protect his people; and he did his best to refrain from violence until the bitter end. His death -a suicide, no matter how you cut it- was equally tragic as the life he led; it was seeing the bringer of hope for mages losing all hope himself and deciding to go fighting and not on his knees. That, combined with his sarcasm and sophistication convinced me that I had to do justice to this poor underappreciated soul and dig deeper into his character -even try to write an alternative ending for him. Hence, this blog was created.

What keeps your inspiration going?  —  My amazing roleplay partners with all the good work they put into their characters and the love they have shown me and my character so far. I love you guys <3

Some more personal questions for the mun.

Give your mutuals some insight about the way you are in some matters, which could lead them to get more comfortable with you or perhaps not.

Do you think you give your character justice?  YES / NO / I SINCERELY HOPE I DO? i have my doubts sometimes, but i think i do ok. Still, I would love to have more feedback to see how i can improve even more.

Do you frequently write headcanons?  YES / NO / SORT OF Headcanons, metas, the works.

Do you sometimes write drabbles? YES / NO. I am not sure what is meant by ‘drabbles’ but sure, I’d love to write more of those.

Do you think a lot about your Muse during the day? YES / NO. All the time, especially before going to bed. That is where all those rp ideas come from.

Are you confident in your portrayal? YES / NO / SORT OF? Again, i don’t really get much feedback, so i am not that sure if I am doing any good and if my Orsino sounds genuine

Are you confident in your writing?  YES / NO / SOMETIMES. I like how i have written some threads more than others, I’m not gonna lie.

Are you a sensitive person?  YES / NO / SORTA. I am a sensitive person in general, but not someone whose feelings are easily hurt/triggered or someone who takes things that are not my business to heart.

Do you accept criticism well about your portrayal?  —  Criticism is welcome only when it is constructive; in the sense that there are clearly stated arguments as to what I do not do right and suggestions on how to improve. If someone sends me an ask like “i don’t like x just because” or anon hate, I am just going to ignore it.

Do you like questions, which help you explore your character?  — YES!!! YESS!!! YESS!!!!!!! I cannot stress enough how helpful it is for me to receive suggestions and questions that help me explore sides of my character i have not thought about so far! Even if your questions are the randomest things ever, i’d still LOVE to answer them. I have received some asks like “what would Orsino do in x situation” in the past and they were SO fun to write!

If someone disagrees to a headcanon of yours, do you want to know why?  —  Of course! As I said, so far the opinion is supported beyond the ‘just because’, I will be happy to consider it. Anything that helps me broaden my perspective is welcome.

If someone disagrees with your portrayal, how would you take it?  —  same as the above.

If someone really hates your character, how do you take it?  — I do not really mind; i am the first person to recognize that Orsino is a controversial figure and people may hate him for whatever reason. I might not agree with the hate, but each to their own I suppose.

Are you okay with people pointing out your grammatical errors?  — If they do not do it in the typical ‘grammar nazi’ style i’m chill with it. Grammatical errors tend to happen more often than not, just because i almost never proofread. *shrug*

Do you think you are easy going as a mun?   —  I think so, yes. As I said, I am not easily annoyed, triggered or have my feelings hurt, and i am very excited to interact with new people. Still, i do recommend reading my verses/about/rules pages, if anything, to know what to expect from my portrayal and activity patterns.

tagged by: stolen from @theharellan tagging: @of-enormous-girth @oftevinter @the-old-and-the-hapless @soldier-of-visus @lathsuledin @redtemplarcommander​ @hisfavoritewolf​ @the-champions-of-the-just​ @lowtownbutcher​ @elderone​ @sworntoprotect​ @altuspavus​ @starkhavenprince​ @aqun--athlok​ @hornedchief​ @iamcole​

[fishinthewater2611]

This is a must-read for whoever drooting for Nahikari.
Nahikari García Pérez (1997, Urnieta, Guipuzcoa, Euskadi) is a footballer who plays as a forward in Real Sociedad and in the Spanish National Team. At 22 she has lived many experiences that have made her mature at a personal level in an accelerated way. She is a restless, humble person, committed to learn and improve every day as an athlete and as a person, competitive, ambitious, non-negotiable values, committed to her club, her team, her colleagues, her culture … I asked Nahikari to give me his testimony personal, because it can be a mirror in which to look at any boy or girl who has the dream of going far in what she decides to do.
Professional player, student, restless and self-demanding person
My name is Nahikari García, I am a Real Sociedad player and a medical student at the University of the Basque Country. With only 16 years I had the opportunity to debut in the first division, and since then I combine my university studies with my sports career. Since my arrival in the first division, women’s football has had an exponential growth that I was able to witness in the first person. Now I am 22 and things have changed a lot, although there is still a long way to go.
Many will ask how you can take the requirement to play in the top category along with some university studies . But that is the reality of most of the players of the Iberdrola League. And to me personally, it’s something that I love. It is not an easy task, it requires a lot of effort and sacrifice. But in this time I have learned that if a good balance is achieved between both things, it can be very positive both for sports performance and for mental state . You learn to disconnect, know how to differentiate the importance of each thing in each moment, and above all it helps you not to lose the perspective of the future. We all know that this sport has an expiration date, that there is a later date, and that by the time it ends, we have to be prepared.
I am a very self demanding person, so sometimes, being competent in two powerful contexts can play a trick on you. That’s why I got the right balance. As I said, in recent years we have grown a lot, the level of demand and dedication has increased and that “forces” to have to prioritize . Even so, at no time have I considered leaving the studies aside, since I am aware that learning to carry out both things has helped me to be where I am .
Many sacrifices that compensate, know how to work for goals postponed in time
It is not easy to reach the highest level: it requires a lot of work, dedication and effort, that is, having to leave many things aside. You know that you will not lead a life like the ones around you, weekends traveling, without seeing your friends, summers without holidays, family meals you can not attend … A different life that undoubtedly deserves the sorrow.
When I look back on my short career and remember all the countries I’ve traveled to, all the people I’ve met, the bad and good times I’ve lived and made me learn so much, do not allow me to see everything that effort as a sacrifice, but as an investment. An investment that translates into impressive personal growth. I can say with total certainty that I feel I do not stop learning at any time, I learn from the people I surround myself with, from what I live in day to day, when I win and when I lose.
For me, one of the keys to being able to reach the elite and to be able to achieve the objectives that one sets is to not lose focus, know where you want to be and what path you should follow. For that reason I consider it important to choose your referents well and know how to surround yourself with people you can trust and know how to redirect you when you deviate . Many of these people are from your family. But not everything is to arrive, many people reach the First Division. The really difficult thing is to stay. And there comes a very important factor, which is the mental aspect. When the level increases, the demand is increasing, own or internal and also external, and knowing how to take it is not always easy.
Learning from the difficulties
In 2016, I suffered one of the most complicated situations of my sports career . We had arrived for the third consecutive year to the final of the U19 European Championship , we played in Slovakia against a star-studded France and we came to make a championship almost perfect and eager to take our first gold medal. All a high end! That day we were losing 1-0 to the rest, but with good feelings and the whole second part ahead. Then the surrealism began. During the break the universal flood that flooded the entire field fell and caused them to spend more than an hour debating whether to continue playing or suspend the game. Finally they decided that we should play, and that’s where we went, to fight in a field full of water.
As soon as the second half started, I failed a penalty that I had caused. Their second goal came and, later, we scored. Minute 90, 2-1 on the scoreboard and comes the play that, surely, more will mark my career (not necessarily in a negative way). After a shot from the edge of the area, the ball is dead just over a meter from the goal line, and there I was. Easy: push it, 2-2 and we would play it on penalties. But it was not like that. The ball went over the crossbar. In this way, the possibility of taking the gold collapsed and, with this, as I would later prove little by little, all my confidence and security. At that time, despite everything, I felt the affection of many people and felt the team close, very close, zero reproaches for what happened. I thought I was fine, I kept telling myself that these were things that could happen and that I would forget them.
But the reality was another, because it influenced my way of playing and even my way of being, it affected my character. It took me a while to recognize it, but once I did it, I got down to work and began to work on other factors, I started to work on the mental aspect, my emotions, thoughts and feelings on the field. Things that maybe until then had not given much importance. 
In my style of play, my personality had always been very important, since I am aware that my strength is not technique or dribbling. I am a person with a lot of character, a very, very competitive player. After what happened in Slovakia I felt that all that personality, which had led me to compete with the best and made me be a different player, collapsed . Then there began the work I was talking about before, a job of internal reconstruction, of growth, emotional and mental , to find myself again.
I think I got it, after two years without being with the national team, last September I was summoned for the first time with the Absolute Team. And now here I am, among the 23 chosen to play a World Cup. I’ve had less good times, but surely without them I would not have been where I am right now. And I think that in the end, those moments make us learn and value things that maybe we did not value before . Failure makes us grow, makes us better.
I have been working with professionals for over two years. First, I did it with José Carrascosa individually, who taught me to face that doldrums and control my thoughts . And this last year in the Real, we have been working with Jon Berastegi in improving the handling of emotions . Interestingly, this year we have been champions of the Copa de la Reina. I do not know if it is chance or not, but what I have clear is that it has been a fundamental aspect in the growth of the team, collectively and individually.
Being a team, the union between companions, is key
During these years I have had the opportunity to be in different teams within the Real. Also, in different categories of the selection. Therefore, I have shared clothes with many people, all of them different from each other. I have learned that the union of a group can lead to extraordinary things, such as a Copa de la Reina. Above all, I have realized that, within a team, without the person next to us, we are nothing. No matter how infinitely good you are, if you are not surrounded by a group of people who accompany you, believe and trust you, you will not get anything. The good of the team is ALWAYS above all and of all, and that is a maxim that we should all have very clear. When the group has a clear and common goal, in which they join hands to try to get it, it is difficult to escape. Nothing is possible if you do not work as a team.
The attainment of the title of the Copa de la Reina has been a very important event within the club, since the football section had been winless for 32 years. For me it has been very special to be able to win a title with my team of a lifetime. A dream come true. And in what way, too!
Commit and take responsibility is an opportunity to learn, identify, be unique and different
When you defend the shirt and the shield of YOUR team, besides being something nice, it is a responsibility, it is a backpack that you have to know how to wear, and more when you see yourself in the group of captains. I consider myself a very emotional person, which leads me to suffer double defeats and to value victories a lot. I like to get involved in the projects, help in the growth of the team and feel part of it.
These years I have always learned from the people that I have had around and from the experiences that I am living. In this last year I have felt in first person that being a captain is much more than putting on a bracelet for 90 minutes . Actually, that’s the least of it. You have to be aware that your image is constantly projected as an example, for better or for worse. The captain is the person in charge of uniting, listening and helping . Although it is said easy, it is not always easy. I think that besides seeing it as a responsibility, it is also important to consider it as a learning opportunity. Because without any doubt, the person who acts as captain is the most enriched, because it does not stop being a constant learning and growth .
Live football more professionally, a qualitative leap
As a team we have made a great leap, since a year and a half ago, with the arrival of Gonzalo Arconada to our dressing room. A coach who until now had only trained in men’s football, but who came from the elite, having trained First and Second Division clubs, among others. This gave us a different approach, a level jump. It allowed us to see football from a more professional point of view. It has given us more intensity in training, demand and concentration . He has put a lot of emphasis on taking care of our way of acting. In addition, he has also conveyed to us the importance of taking responsibility for the image we show towards others. 
We started to be references, and assimilating it is a job in which Gonzalo has deepened a lot in this last year. It has given us tools to understand that the attitude and image we show every day also shows the commitment we have towards our profession and, more important if possible, towards ourselves . And that is something we needed. The demand for everyone in this time has been greater and that has made us better.
Growth of women’s football
There is no denying that the growth of women’s football with the entry of televisions, sponsors, the biggest investment of clubs … in recent years is being brutal. But it is equally undeniable that there is still a long way to go and many barriers to break down . We are taking steps forward little by little, and I think one of the keys is that we are doing it hand in hand, knowing that we have a common goal and collective benefit . In sight are the constant displays of affection between clubs and rival players after the achievement of important achievements. And this, I hope, is one of the values ​​that we never lose.
Fight for your own dreams
To all those girls and boys who start their journey, if they like and are excited about what they do, I would tell them to fight for their dreams . That objectives are set, that they have a clear focus to look at and pursue it with their eyes closed. Let them enjoy the path and learn from the obstacles that will be found in it . It will make them grow, reflect and mature. It will make you better. Those who take obstacles as a form of learning will be close to true growth. I would like to convey to you that every effort will be worthwhile , that everything in this life serves to learn and that from all that we have lived and felt we can draw positive conclusions.

[cosmiciaria]

In defense of Dragon Age 2 (review - no spoilers - long post!)

It seems I'm only allowed to play games in disorder, because I played this one after Inquisition, and guess what I'm almost at the end of now (yes, you guessed it, Origins). But it's not a problem for me, because after I *checks notes* ejem, played, uhm, like nine playthroughs of Inquisition, cof, cof, I've learned all the tiny details and branches and possible endings of each installment. So this game's story wasn't a surprise in many aspects – although there were still things I didn't know or I didn't expect.

So DA2 is the black sheep of the family, and somehow I can see why. It differs greatly from the origin prologue you get to play in the first one, and the silent protagonist is gone, replaced by an already created and established character, Hawke. Hawke can be male or female, mage, rogue or warrior – but they are only human. We are ripped off of the option of choosing between races.

And that's not the only thing the game takes away from us – we are used to travel around Ferelden, searching for allies, to fight the Archdemon, because the End is Nigh and we Must Save the World united with friends and so on – here, it's just a city. We only get to know Kirkwall, a Free Marches city that used to be owned by the Imperium and now rejoices in its so-called freedom. Kirkwall consists in some neighborhoods and some notorious buildings, but that's it. It's just the city. And I daresay, it's another protagonist of the game.

Yes, you get to go outside a few times – you even go through the ( I don't know WHY) still mandatory Deep Roads quest and whatnot – but the main storyline will still happen inside the city walls.

And that's… not so bad. But I'll get there in a moment.

So you play as Hawke, the older sibling of the Hawke family. You're escaping from Lothering, which you may remember from Origins – yes, it's the same town you visit right after Ostagar. Lothering has been overrun by darkspawn and so you take your mother and your two younger twin siblings with you: Carver, a warrior, and Bethany, an apostate mage.

In your way to the port, you come across Aveline, a well seasoned captain, and her husband Wesley, a templar. Wesley isn't in a very good condition but you still allowed them both to join your escape.

It isn't so long before the darkspawn reach you, and you make your last stand here.

Now, in this part of the prologue, what matters the most is the class you chose for Hawke. If Hawke is a mage, Bethany, the other mage, will perish at the hands of the ogre that is leading this barricade of darkspawn. If Hawke is a warrior/rogue, it will be Carver the one who makes the ultimate sacrifice so his family would survive. As I have stated in my Inquisition review, I love mages, so of course I created a mage Hawke, and so I watched Bethany, so young and rebellious, die in front of my eyes (Wesley, Avelin's husband, dies as well but we don't care much for him sorry not sorry).

Choosing a class isn't a minor or just a gameplay thing here, because it leads to two very different stories. Carver is resentful with you, he blames you for the death of his twin, and he can't get over the idea that you (and him, as well) are being hunted by templars. He can even become a templar if you choose the required options – so ironic, you a mage and your own brother a templar! His inferiority complex makes it really hard to get on well with him. Bethany, on the other hand, seems to care more for her older sibling, and bears a great admiration for their father, who was a mage and the one who taught her everything. She's guilty over the fact her family is doing everything they can to protect her from the templars and the Circle, and her attitude towards Hawke always follow that line. Her destiny has more options than Carver, though, so it makes me think that maybe Bethany was the "canon" sibling who survived – Still, I always play as a mage so I'm used to Carver by now and it feels kind of contradictory to see Bethany alive and well.

Amidst the chaos, a dragon appears, stretching its wings – it destroys the rest of the darkspawn, and soon we see that it's not just a beast. It transfigures into a human, quite known for us DA's fans: Flemeth, the Witch of the Wilds, Morrigan's mother. She's saved us, but of course she wants a little favor in return, nothing too problematic. For those who are wondering "but HEY I killed Flemeth in Origins", well this encounter happens before you do that. And if you know anything about Flemeth is that she always comes back.

Finally, you reach destination, the almighty Kirkwall, with its columns that seems to go on forever into the sky. Here, you'll start over. Here, you'll pave your way to your future. And the plot begins!

The story is divided into three well marked acts: the first Act you'll be saving money to go on an expedition to the Deep Roads to gain enough coin and reclaim the Hawke estate in Kirkwall; the second Act has you going around playing the diplomatic link between the Viscount and the Qunari who have made the city their headquarters; and the third Act, well, everything blows up. Literally, I might add.

Between the prologue and Act 1, one years passes. Between Act 1 and 2, three more years go by; and finally, Act 3 happens three years later as well. The whole story takes up like 8 years or more inside the same city. This… wasn't a good decision on the developers, in my opinion, but I'll say it after I talk a little about the characters.

First we have Hawke, our Champion. Their personality varies between diplomatic – sarcastic – upfront and direct. And this time is easier to know because gone are the days with the many responses available and now we have the wheel which shows you an icon displaying the "tone" of your reply. If there's something common across all the Hawkes you can create, is that they care for their family, they want to recover what's theirs, and there's no stopping them. They are loved by those around them and seen as a leader. Loyalty is a powerful word here, which will play a big part in the final act, because only those who are truly loyal to you will remain by your side. And it's endearing, really, to see the support of those characters that accompanied you the whole game. Oh, and they have voices. I say this because in Origins we have a silent protagonist (which took me aback considering I played Inquisition and 2 prior), and they are so well portrayed it makes them more human and approachable.

Now that we are on that topic, voice acting here is just FLAWLESS. I can't get over Gideon's voice for that stupid elf damn it.

Alright so, just like in the other games, you can recruit companions. I already spoke a little about Carver and Bethany, who are playable… for a time, at least. 

This is the first time we come across Varric, our favorite storyteller. Varric isn't only just your best bud for life here, but he's also the one telling Hawke's story: he'd been abducted by Cassandra Pentaghast (yes, the one from Inquisition) who wants to interrogate him about the Champion. Varric is like your north in the game, he's always there for you, he's always supporting you, he doesn't take sides, he's funny, he's welcoming and he cares so much that I want to hug him. Goodest best friend forever.

Aside from him, you'll be crossing paths with Aveline again, now a soldier in the guard. Aveline is the correct type of person: she takes pride in her job, she wants things to get done well, following the rules. She respects honor, dignity and justice, and she doesn't approve of taking advantage of "illegal" situations and underground activities. If she's on your good side, you'll get a great supporter and a great friend, who will got your back, always.

Fenris is an elf who comes from the Tevinter Imperium – if we know anything of Tevinter apart from its blood mages, it's that they are slavers. Fenris used to be a slave who managed, somehow, to escape from his master. He bears a burning hatred towards the Vints, mages and every slaver out there. He always remarks he's a free man and he will disapprove of your support for the mages or any kind of sympathy towards slavery. So much so, that I started my relationship with him in -10 because I was a mage.

Merril is a dalish elf whom you'll be recruiting after finishing Flemeth's little favor. Merril is a blood mage, and she doesn't see the demons as enemies, but rather friends. She intends to leave her clan and go live in the city, because she's sure she can help her kin from outside instead of remaining cloistered and secluded inside. This will grant her the dislike of all her clan's members, but that doesn't stop her. She's naïve, she doesn't seem to understand most of human customs, and she's quite direct because she can't see through sarcasm or white lies. She's the purest of the team, although her abilities may tell you otherwise.

Isabela isn't new for us, if you come from Origins. Here she'll be joining us again after losing her ship. Her intentions remain a mystery most of the game, but let's just say she's quite involved with the plot of the second act. She's a forced to be reckoned with: she doesn't mess around when things need to be done and she gets them done in her own way. I'm still a bit spiteful about her because she abandoned my team after the second act, although I thought I was doing everything right!

Sebastian is only available through the Exiled Prince DLC – he's a chantry brother whose family was brutally murdered and his estate back in Starkhaven lies headless. He's conflicted about whether to remain in the chantry or go back to reclaim his land. He's righteous, he doesn't accept any rule breaking and, to be honest, he's pretty dull – specially if you're trying to romance him only because of those shiny blue eyes. The fact that he only joins you after Act 1 supports this allegation, in the way that he's not available through the first part for party banter, which always adds a lot of more depth to the characters you're playing with.

And at last… we have Anders. For those of you who played Origins' expansion, Awakening, Anders isn't a new character either. This time, though, it's not just Anders: he's possessed by a spirit of Justice, the same Justice we meet in Awakening. Anders remains in control most of the time, but when he loses it or when he enters the Fade, it's Justice the one who takes over. Anders serves as a healer in Kirkwall, helping refugees for free. He wants to move on from his past as a Grey Warden and he fights for the rights of the mages who are being hunted by the templars. Oh, man, of course I would fall for the subversive mage! Boy was I deceived… He plays a large role in the final battle, which, depending on your choices and your principles, will change your view of him forever. Let's just say that he's a pretty hated character in the franchise.

In this game you'll have choices as well, and your comments and actions will bear points of friendship or rivalry with your companions. This doesn't mean that if you get 100 rivalry points with one of them they'll abandon you, no, it doesn't work like in Origins or in Inquisition. Here you have to see the bar in both directions: the closer it is to one of the extremes, the better. The danger zone is the central one: if you have little points of friendship or of rivalry, the companion is likely to abandon you. This is what happened to me with Isabela: I had a good chunk of friendship points with her, but it seems I needed to max them out, which I didn't, and thus she flew away, goodbye. You can even romance characters with high rivalry points, and their romance plays a little different because of it. As it says, it's "rivalry" and not "deep hatred with death wishes", so maybe it spices some things up in your relationship.

Each companion will have their own questline that stretches across all three acts, and if you want to have all your team available by the end of the game, I recommend you do them. Although… well, you won't have the whole team, but I won't spoil it for you.

So I mentioned before I would talk about why the eight year story decision wasn't a good take for me after speaking a little about the characters – well, it's simple. In those three year gaps, the story acts as if nothing happens. Yes, sometimes the characters say "hey, I haven't seen you in a while" or "that thing happened three years ago" or whatever, but it doesn't work well. For instance, if you romance Fenris, you'll sleep with him in the second act, and then he goes away, seemingly not wanting to continue with the relationship. Three year pass, and then you resume your romancing with him, and he's like "yes, idk why I left that night I so regret it lol" DUDE, you're like just two meters away from Hawke's house, are you truly telling me you didn't talk to them after what happened in these three years? 

The story plays as if there are no gaps in time. In fact, if you take away Varric's narration, which states that x amount of time happens between act and act, you won't even notice it! And that's the thing: I don't know why they chose to do this. I mean, I guess I understand the point, they wanted Hawke to make their own name, to be known and loved by the citizens as years went by, they wanted them to start in rags and rise to fortune, I get it. But something similar was accomplished with the Inquisitor in the third game: time passes, I believe almost a year, and you feel the love and respect you've earned from your companions. It didn't take my Inquisitor eight years for that. It didn't even take her half a month to get Cullen in love with her ok sorry. What I mean is, the eight years thing isn't well developed, and characters act as if no such time had passed, and the story is planned as well like that. It's almost as though they wanted to stray as far as possible from Origins in terms of design and choices, which is a great idea, but some things just don't add up.

For example, in Inquistion's expansion, Trespasser, two years have passed. And here you see, you feel that your characters have been away for long. They've all been following their own paths and when they finally reunite they catch up and speak about their futures and what they want for themselves. It truly feels like two years have passed. There's a huge impasse between the ending and the expansion, which marks a milestone, and you can understand why all these characters haven't seen each other for a while. Whereas between Act 1 and 2… it's like… yeah we went to the Deep Roads and yeah… hmm… Varric really three years and you still didn't hear of your brother or… wait is this letter by Carver just sent? I mean he's been away too long now but he could always send me letters why wait three years…. and so on. It breaks the continuity. In fact, it doesn't only do that, but it also makes your characters stupid. Are you telling me Anders has been in love with me for three years and he still hadn't done anything?? What are you, fifteen?

But apart from that, I believe this game is really good. I enjoyed it from beginning to end. I enjoyed the mechanic regarding your siblings: their appearance changes depending of what preset for the face and skintone you choose for Hawke. I like the idea that only one of the twins is available throughout the game. I like that the gameplay has been improved from Origins, I love that as a mage you feel so destructive with all those spells, I love that it's fast paced and more colorful. I got also really involved with some of the companions, specially Anders, Fenris and Aveline. I love that, even though they may disagree with you on some topics, they still remain by your side if you were a good friend, because that's what friendship's about. Friendship/rivalry here feels like a human thing, something quite relatable, instead of just shoving gifts onto your companion so they'd like you better. I like that somehow all of your companions are entangled with what happens in the city, and this leads me to my final point about why DA2 is still a good game.

Kirkwall. Our vedette. Our goddess. Kirkwall is the scenario for 90% of the events of the game. We're not saving the world here. We just want the peace for the city. Who should rule? Whose forces should Hawke support? Is Hawke good enough to be Viscount? Are the templars doing a good job? Or is Knight-Captain Meredith going too far?

Political intrigue. And just one city. Not all of Ferelden. Just one bad person trying to control the strings in this small portion of land, not an army of zombies or a dragon ready to consume the world. I love that the plot is just restrained to this small thing, because it lets you go deeper into everyone's stories, and it doesn't mean that it gets less epic, on the contrary. I enjoyed the final boss here way more than I did with Corpypheus in Inquisition. Here Meredith has an actual goal and she's acting upon what she thinks it's right, and at some point and to some extent, she's right! But her methods are questionable, in the least. She's not just a bad guy for the sake of being a bad guy, like it happens with Corypheus. She's bad, but she has her reasons.

You don't get to know a lot of people, because you just know those who live in Kirkwall. The familiarity, the warmth of its streets, it's like you've been living there as well, sharing with these characters and learning about their pasts. Instead of allowing you to see a huge picture with hundreds of characters involved, you just focus on those you care about, explore them more in depth. Sometimes covering everything doesn't lead you anywhere, so it might be better with just a handful of well written plot points and characters.

I'm not saying that Origins is the worst because of this, because it seems like I'm hating on it. In fact, I can't still speak much of it because I haven't finished my route yet (although I know how it ends). I'm just saying that Origins is good, that Inquisition is good, and that DA2 is also good. It's different, but still a good game. Sometimes you're tired of playing as the chosen one hero who must save the world, and maybe saving one city is enough for your heroic career.

I loved the game. I loved that it pushed my beliefs of helping the mages to the limit, to the point of questioning myself. I loved that it played tricks on me like that with the romance option. I loved the sarcastic Hawke, such a well written script. Also, Cullen is here so of course I'd love it.

Just… don't hate it that much. And if you still haven't played it, give it a shot. You might be surprised.

[starspatter]

Heroes and Thieves, Ch. 11

Title: Heroes and Thieves Fandom/Universe: BTAS, pre/post-RotJ flashback

Summary: A story about second chances, healing, and having hope.

Rating: PG-13, for references to character death, child psychological torture and trauma.

Genre: Romance/Family/Friendship/Hurt/Comfort

Word Count: 4,380 Previous Chapters: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10

Also on ff.net and AO3.

There was a time when I was alone Nowhere to go and no place to call home My only friend was the man in the moon And even sometimes he would go away, too

-Ruth B, "Lost Boy"

————————–

Before.

“Batman, wait!”

Robin was too late; Batman had already charged ahead by ruthlessly breaking down the door to the house with the sole of his boot.  A low-key villain calling himself “Cluemaster” (whom Robin had incidentally never heard much of until now compared to the likes of Riddler or Joker, having supposedly gone “straight” for a couple years – at least according to Batman) had led them on a lengthy chase, and they ended up pursuing him all the way out to a small neighborhood in the suburbs.  As they infiltrated the dwelling, Robin hastily checked around to make sure no homeowners were present who could be caught in the fray – or worse, taken as collateral.

Fortunately the room was empty, aside from their glaringly orange-clad target in the middle of it, reaching for one of the plasti-glass pellets attached to the front of his costume. Batman had already anticipated the move though and launched forward faster than the other, lurching a blurred glove into his opponent’s throat, which caused him to drop the canister as his body was slammed hard against the wall.

“You’re under arrest for multiple counts of grand larceny, Cluemaster.  Or should I say, Arthur Brown?”

With his other hand, he grasped at the bandana covering the lower half of the man’s face, which had already come loose from the force of impact.  He jerked the rest of the kerchief off to expose a snarl under the guise, the owner evidently infuriated by the idea his identity had been so easily discovered.

“Now, where’s the money you stole?”

Arthur sneered.

“Why don’t I give you a clue to its whereabouts, and you can figure it out yourself, since you’re so smart?”

Batman growled as he grabbed his foe’s collar, lifting high into the air, letting free-dangling feet flail frantically.

“I don’t have time for these games.  Either you tell me voluntarily, or I’ll make you confess.”

Robin was getting anxious by the aggressiveness in Batman’s tone; making threats of violence wasn’t anything out of the ordinary, but he’d been out of sorts all night, acting excessively and extremely hostile, leaping into enemy territory with heedless disregard to danger – to himself or those around him.  Sans his usual sangfroid.  He was starting to sound like that time Scarecrow dosed him with a gas that took away all his fear, resulting in Batman almost taking a henchman’s life.  It had taken all of Robin’s strength to haul him back up after Batman cut the line…

The current captive seemed to be getting panicky too, as he quickly changed his attitude, appealing to sympathy instead.

“Listen, I’ve got a wife and kid.  They’re asleep upstairs.  I just needed the cash to help support them.  We’re in a bit of a financial jam, y’see…”

Robin’s conscience wavered, recalling the time they had to prevent a penniless man from holding up a drugstore in order to obtain medicine for his daughter, who was simply sick with a high fever.  Of course this was theft on a much greater scale, but he still couldn’t help having some lingering empathy – especially based on his own past experiences dealing with poverty.

“That's one of the hardest things about this job, Robin.  Sometimes we have to stop someone from doing the wrong thing for the right reason.”

“…Daddy?”

As if on cue, all three revolved towards the top of the staircase, where a young girl with golden curls – probably about his age – was standing in bare feet and violet nightgown, beholding the scene before her with baffled eyes, big and blue and broad.

“Darling, why don’t you go back to bed?”  Arthur choked out, his own eyes bulging as cheeks turned indigo as well.  “You’re just having a bad dream.”

“Arthur?  What’s going on here?  I heard a loud noise…”

Robin swallowed as a woman emerged from behind the adolescent, gripping the girl’s shoulders as she drew her daughter in protectively, eyeing the pair of home intruders with fear and suspicion.  The situation was steadily turning from bad to worse.  He hurriedly bounded up the steps, trying to block at least the shorter one’s view with his arms and cape, acting as both shield and shroud.

“Both of you should stay back…”

Batman’s prey put on a pleading, pathetic look.

“Now now, you wouldn’t hit a guy in front of his family, would you?”

While his quivering lips pouted, his pupils seemed to flash triumphant.  Robin felt a sick chill in his stomach.  Had he set this up just to take advantage of innocent citizens – and his provider status for them – as an alibi?

Whatever the reason, Batman wasn’t falling for it.  While he slowly lowered his fist, he continued to glower viciously at his victim.

“I’m still taking you in. The police will be here soon, they can interrogate you.  And if you don’t admit to them, well…”  He leaned in close, crescent slivers narrowing.  Intimidating.  “They’ll just have to call me.”

With that, he twisted his prisoner around, pressing head harshly against partition again as he slapped a pair of handcuffs on.  Robin sensed the two frightened females peering over his shoulders, crying and clinging to each other as sirens started to wail outside, and the junior one almost looked like she was about to join them.   He thought about reaching out to try and comfort her, but a cold bark from Batman halted him.

“Let’s go, Robin.”

“But Batman-”

“Now.”

He was already halfway out the side exit when he said this, and, after a moment’s hesitation, Robin bit his lip and vaulted over the railing to race after him, cloak whisking out of sight just as officers began filing in.  As they headed back towards the Batmobile parked in the shadows close by, Robin hissed his irritation.

“You know, there were a million other ways you could’ve handled that.”

“I did what was necessary in order to get him to talk.  The police should have an easier time of it now.”

“Yeah, but did you have to do it while his wife and child were watching?  This is exactly the reason Nightwing left you, remember?”

Batman blatantly ignored the bold declaration of disapproval as his pager began to beep: a message from Batgirl, requesting backup.

“Armed robbery in progress, escalated to a hostage situation over on the north side.  We’re needed.”

“Did you even hear what I just said?”

Batman brusquely cut him off.

“We’ll discuss this later, at home.  Now get in the car.”

Robin grumbled, but grudgingly obeyed.

They never did discuss it though.  Concurring collectively, both Batman and Batgirl determined there were too many hired guns in the building, deeming it far too “risky” to bring Robin – the “kid” – along. …Plus it was a school night.  So Batman swung swiftly by the manor on the way, dropping Robin – Tim – off unceremoniously at the front gate despite loud and adamant protests, where Alfred was waiting to pick him up and march him straight on inside to get changed and ready for dinner.

“And ‘don’t forget to do your homework’,’” Tim mimicked Bruce’s reprimanding voice with a querulous whine as the vehicle sped off, leaving him in the dust.  “God, he still treats me like such a child.”

The butler patted his charge’s back consolingly, ushering within.

“Come along, Master Timothy. There are cookies and cocoa waiting for you inside – after you finish with your studies, that is.  We wouldn’t want to spoil your appetite, now would we?”

Tim shot an exasperated expression at the patronizing statement, but acquiesced.  Upon entering, he immediately tore off the mask and tossed it on the table in frustrated anger, flopping sullenly onto the couch without even bothering to remove the rest of the suit.  Alfred tutted, but made no remark as he disappeared into the kitchen, promising food would be served shortly.

As Tim gazed at the fireplace, he stewed over Batman’s earlier reckless – not to mention downright rude – behavior.  How could he even be so cruel and insensitive?  It wasn’t just the bossing around that bugged him, but he was genuinely rather troubled by Bruce’s mental state.  …Truth be told, he had a guess as to the cause for callousness.  He’d noticed a common trend in increasing indiscretion (and intractability) after their latest visit to Arkham, when they stopped by Two-Face’s cell following another escape – and subsequent suicide attempt.  Ever since he’d developed a third personality who judged himself guilty and sentenced to death for his sins, his condition had been gradually worsening.  It was to the point he – and his coin – had to be kept under constant watch and isolated lockdown.

Tim was never really sure how to feel about Two-Face (in the same way his chest was always confused and ached a little whenever he faced Clayface).  The man murdered his father; Tim supposed he should hate him for that. In addition, he’d even once mercilessly electrocuted Nightwing with a wire taser, forcing the senior superhero’s heart to completely stop.  …Had he not promptly administered CPR and literally brought his brother back from the brink of death, he might have lost another family member that day.

But, according to Dick, Bruce and Harvey had been good friends once – which explained why his guardian always bore a grieved semblance whenever they went up against Dent.  …Tim tried to imagine what it must be like, to watch one’s once close companion fight a losing battle against himself.  Clearly it was taking a capricious toll on the old man’s emotional and psychological well-being as well, making him far more mercurial and volatile – prone to violent vagaries.

Yet, even Tim recognized that didn’t excuse him taking it out on others, especially when it interfered with their work.  (Frankly that didn’t seem to be the only thing distracting recently either, given Batman and Batgirl had been ditching him more and more often as of late, citing his “immaturity” as pretense.  …But he didn’t really want to think about that right now.)  He was concerned about that girl as well.  Screw Batman, he should’ve stayed to try and talk to her.  At least give her some reassurance after witnessing such a harrowing event.

Making up his mind, he snatched his domino from the counter and was out the door (cautiously evading the security cameras he knew were watching overhead) just as Alfred came to call him for dinner.  Upon finding the parlor empty, and after exhausting all other options of where the lad might have gone to within the mansion (including underground area), the caretaker finally murmured in alarm.

“…Oh dear.”

…

It took Robin longer to get back by grapple alone, but eventually he made it to his destination. Descending on the rooftop from a nearby tree, he tiptoed towards a single annexed dormer window which jutted prominently from the tiles.  Testing the lucarne’s latch, it luckily wasn’t locked and slid open with relative ease. Silently slipping in, he was greeted almost instantly by an unpredicted punch to the face.

As he was thrown flat onto the bed, survival instinct triggered to roll over and try to fight back, but his own fists arrested when he saw his assailant was the same girl from before, glaring at him with mistrust.

“Who are you?!  Some kind of creepazoid stalker?”

“Whoa, whoa!  It’s me, Robin.  You know, from before?”

She stared at him, realization dawning.

“Oh.  …Sorry.  I didn’t know it was you.”

The way she said it, she still didn’t seem very impressed.

“…I’d hate to be someone you were expecting,” Robin muttered, rubbing at his sore jaw.

She folded her arms firmly.

“So?  What the heck are you doing here?  Again?”

“I- I just wanted to check and see if you were okay, after… all that.”

An eyebrow raised.

“And you thought coming in through the window was the best way to go about it?”

“…In hindsight that might not have been the best plan,” he acknowledged, repentant.  “Sorry.  Being with him tends to rub off on you.  I apologize if he scared you earlier.  He’s really not a bad guy.”

She exhaled, letting her limbs down.

“No, my father is, right? …It’s okay.  I know who and what my dad is.  He deserves to go to jail.”

Robin cocked in confusion at this unanticipated acceptance.

“But… He’s still your dad.”

“Yeah, and I hate him.” Her knuckles clenched, tightening. “He just wanted to use Mom and me to get away with his crimes.  We’re basically just tools, a means to an end for him.  He’s a total class-A jerk.”

Robin blinked, unsure how to respond to that.  He certainly hadn’t been prepared for this outcome.  An uncomfortable hush filled the chamber, which he idly noted details of as he glanced around nervously.  He’d never actually been in a girl’s room before, so he wasn’t sure what to expect.  He supposed the piles of stuffed animals and boy band posters were probably typical, though he was surprised to see some large prints of Superman lining the walls, and a bulletin board covered with newspaper clippings of Batman and Robin – mostly his predecessor – busting the Cluemaster’s previous petty heists.  She apparently wasn’t kidding when she said she had it in for her father.  (…The image felt almost eerily familiar, reminding of the days when he kept a similar chronicle in a corner of his own pops’ apartment, much to the old man’s displeasure.)

“…You’ve got weird taste for a girl,” he mused aloud.

“And you’ve got weird fashion sense for a boy,” she retorted, nose wrinkling.

“Hey, I didn’t design the suit,” he huffed defensively.

“And who did?  Your mom?”

Robin winced a bit, but bit his tongue.  “…Would you believe me if I said Batman?”

She sniffed.  “I mean seriously, what’s with that getup anyway? It’s so bright, it makes you look like a clown.”

Fed up with her criticism, he started to skulk back towards the outlet again.

“Look, I didn’t come here just to be insulted.”

A hand reached out to clasp his wrist, and he rotated to see her regarding him sincerely.

“Sorry, I was just joking. …You don’t have to leave.”

He gulped, blushing a little at the light touch.  The last time a girl held his hand like this for so long, she’d followed with a…

“Um, okay.”  He rubbed the back of his neck uneasily, growing tense as she inclined forward and grinned – before passing him by to hop onto the sill instead, sticking out her tongue at him.

“Ladies first.”

He whirled around in shock as she stepped out over the ledge.

“Hey, what do you think you’re doing?  That’s dangerous, get back here.”

“Relax, I do this all the time.  Besides, you jump around rooftops every night, don’t you?”

He impulsively climbed after her, keeping a careful eye on her footing, hovering close behind in case she fell.  But, true to her word, she did seem to have practiced this pattern many times before, effortlessly picking her way over the slates to the top, where she plopped down and petted the spot next to her.  Indicating invitation.  Tentatively, he took it and traced her wondering sightline to the stars above.

“…You know, I used to dream I’d see the Batman someday.  Drifting across the moon, dark against the night sky…”  She hugged her knees to her breast.  “This is the first time I’ve actually seen him in person.  For a second, I almost thought he was a monster.”

Robin remained quiet as she continued.

“But, my dad’s the real monster.  I know he’s hurt a lot of people – myself and Mom included.  He doesn’t care about us at all.”

“How come she doesn’t just divorce him?”

“She can’t afford a lawyer to kick him out.  He still owns the mortgage on the house.”

She smiled bitterly, drawing circles on the shingles.

“As a kid, I used to think about running away.  Getting on a plane and going somewhere far, far away from here.  Someplace exotic, where no one knows who I am or where I come from – like Africa.  …But, I could never do that to my Mom.  She’d be lonely if I left.  Even though she has some… ‘difficulties’, I still love her.”

She looked at Robin, who was still listening attentively.  Patiently.

“Sorry,” she mumbled in a slightly sheepish manner.  “I’m just making you sit through my random rambling.  I don’t usually get a chance to talk to anyone about this, let alone someone my age.  Having a lame, insane supercriminal for a dad isn’t exactly something I can tell all my friends at school.”

“It’s all right.  I wish there was more I could do to help…”

He replied, feeling as utterly useless – hopeless – as when he came across a bunch of homeless youths in his hunt for Annie after they’d gotten separated, the ragtag group of street rats sleeping together on a filthy mattress in an abandoned shelter; huddled under each other for warmth, sharing but one thin, dingy blanket between them.  (…The kind of neglected kid he could’ve easily ended up as had he not happened to be so lucky, to be “chosen” – caught before he slipped through the cracks into faded obscurity and was overlooked – forgotten – by society.)  There were some things punches and kicks just couldn’t fix.

“You’ve already done more than enough, thanks.  I’m grateful to you both for putting a stop to him.  …Even if it’s probably only temporary.”

“There has to be something that can be done though.”

“Really, you don’t have to go out of your way or anything.  Besides, why do you care so much anyway?”

He shrugged, surveying the distance.  “Maybe it’s because you kinda remind me of someone.”

She scanned his wistful countenance, scrutinizing closely.

“…Was she cute?”

“What- no.  I mean yes.  I mean, uh-” Robin stammered, flushing red as he was abruptly taken aback by the unexpected inquiry.  She giggled in snorting amusement at his oh-so-obvious reaction.

“Relax, Boy Wonder, I’m just teasing you.”

He coughed, regaining composure.

“To be honest, that’s not the only reason.  My dad wasn’t much of a prize either.  …Although he can’t compete with yours.”

“Ehhh?”  She gaped at him in astonished awe.  “But he’s so cool!”

“Huh?”  He puzzled for a beat, then it clicked what she was talking about.  “Oh, you think that Batman’s- no, he’s not my real dad.  I’m not even sure I would even go so far as to call him much of a ‘father figure’ actually.  He’s more like a… mentor?”

It was her turn to listen as he ruminated, reflecting.

“He saved me though. Took me in when I had no place else to go.  Gave me a second chance.  I’ve… done things I’m not exactly proud of either.  If he hadn’t found me, I’d likely be dead or in jail myself right now.”

Sensing a buzzing interruption from his waist – a warning summons from the butler no doubt – he consulted the timestamp in the corner of the display, and cringed upon calculating how much interval had elapsed in his absence.

“…Speaking of which, I should probably get back soon.  Batman’s gonna kill me once he finds out I’m gone without letting anyone know.”

Her forehead creased with contriteness.

“You didn’t have to go that far for me…”

“Hey, don’t sweat it. It’s the least I could do.”

She looked reluctant to end the conversation though.  He wondered if he was the first person she’d ever been this open to about her feelings. …After some thought, he fished around in a pocket and pulled out another spare backup communicator.

“Listen, don’t tell anyone about this; Batman doesn’t like me lending out tech.  But if you ever need anything, you can get in touch with me on this.  I’ll come as soon as I can.  …Only if it’s an emergency though.  He’ll really give me an earful if he finds out I’m using our gadgets for personal stuff.”

She looked down at the device in trepidation.

“Is it really okay for me to have this?”

“Yeah.  It’s no problem, don’t worry.  I know how to keep a secret.  And I’ll definitely stop by again sometime, so we can hang out some more if you want.  Whaddya say?”

Her eyes lit up, and- without warning, she flung her arms around him in an appreciative hug (that very nearly knocked him off balance).

“…Thanks, Robin.”

His hue embarrassed again, but he gently reciprocated the gesture.

“Hey, what are heroes for?”

After an awkwardly long minute, she propelled back from the embrace with a self-conscious laugh.  Once the rapid beating in both their ribs had calmed down (and she’d surreptitiously wiped some tears from her face), she afforded him a somewhat odd look.

“…What’s wrong?”

“Nothing, it’s just… Calling you ‘Robin’ feels kinda weird.  It’s like a girl’s name.”

“Hey, it can be a boy’s name too,” he sulked in indignation.  “Besides, at least it is a name.”

She shook her head, concentrating intently on him as she contemplated.  After a bit, she brightened with sudden brilliance.

“I know!  I’ll call you ‘Peter’ – since you came in through the window.  …And ‘cuz of the tights.”

Robin blanched as she pointed playfully at his leggings.

“…I think I’d rather be called ‘Robin’.”

“Nope,” she cheerfully announced.  “You’re ‘Peter’ to me now.”

Robin sighed, but didn’t object further to the nickname.  It wasn’t like he could tell her his real title.

“Fine.  ‘Peter’ it is then.  …Does that make you ‘Wendy’?”

She smirked with a wink.

“If you want me to be.”

He blinked, clearing his throat as he stood up, almost stumbling over his heels as he backed up in haste.

“Right.  Well then.  Wendy.  …Guess I’ll see you around?”

“Yeah.  See ya.”

“…’Kay, bye.”

“’Kay, bye.”

He waved as he fired his grapple into the branches and swung away, and she merrily returned the motion. Elated, Robin’s spirit soared over heightening city structures back to the estate, performing as many flips and tricks as he could on the way.  …Although come to think of it, he had failed to ask for her actual name.  …Oh, well. There was always next time.

Rather than directly approach the porch or cave entrance, Robin thought about endeavoring to sneak back in through the second-story opening to his own bedroom, so he could pretend he’d been there all along.  …Unfortunately, as soon as he’d made it inside and detached his façade, he bumped straight into a severely stern-looking Bruce towering over him.

“Where the devil have you been?  We’ve been trying to contact you for the past hour.  Barbara’s out there searching all over for you right now.  Meanwhile I’ve had to help Alfred double-check every secret room and passage in the manor.  Do you know how long that takes?”

Tim merely shrugged.

“I went out for a stroll. Is that a crime?”

“In this house, it is. Do I need to start putting a tracer on your utility belt again?”

“No, sir,” he squeaked meekly.

Bruce heaved a grunt.

“Just hurry up and go get changed, young man.  Your dinner’s cold already.  Alfred made soup.  Make sure you apologize to him too, he’s been worried sick.”

“Yeah yeah, I hear ya, old man.”

“And did you finish your homework?”

Tim flinched.  He knew there was something else he’d forgotten.

“You had better get to it if you want to come patrolling with us tomorrow night.”

“I will.”

Before he vanished into the privacy of his enormous closet (which, in his own private opinion, was way too overly spacious – though no one would certainly hear him complain), Tim paused, calling softly back over his shoulder.

“Bruce.”

“What?”

“Thanks… for caring.”

…

About a month later, a couple men dressed in black arrived at the Brown residence, carrying grim, serious auras and stiff briefcases containing various important-looking official documents.  An obstinate Stephanie insisted on sitting down alongside her mother on the sofa as they discreetly disclosed the news she never once conceived she’d get to hear like this:

Her dad was dead.

Apparently he’d cut a deal while in prison, and became a part of something clandestinely known by a select few outside those in power as a “Suicide Squad”.  He’d perished while on a covert mission for the government, and – according to these strange men’s confidential report – he’d died a “heroic sacrifice”.

Stephanie didn’t know how to react.  What to feel. …How she was supposed to feel.

As she sat in her room, trying to write in her diary but coming up blank, her observation shifted to the window still left ajar each evening, through which a mild breeze blew. Opening her desk drawer, she retrieved the hidden miniature handset from the far back, tucked neatly behind all sorts of stationery.  She had avoided using it up to now, afraid of coming off as an annoyance.  …But she hadn’t seen Robin at all since then.  No one had.  Based on what she’d gathered from growing gossip, he’d been fully MIA over the course of the past few weeks, and rumors were starting to spread.  It was like his existence had been entirely erased, simply evaporated off the surface of the earth.  …She was worried about him too.

She pushed the button, hands shaking in mounting apprehension as she elevated to her ear.

There was a long, low hum of crackling static, before someone (presumably) picked up at last.

“…”

“Hello?”

“…Who is this?  How did you get access to this comm line?”

“I’m… a friend of Pet- Robin’s.  Is… he there?”

An extensive gap stretched.

“There is no more Robin.”

The pronouncement was deep. Disturbing.  Definite.

“Do not contact here again.”

With a final click, the other end hung up.

She tried, repeatedly – desperately – to dial back – but the machine seemed to have been remotely disconnected.  Slumping forward in defeat as she let go the last potential link – lifeline – she buried her face in her sleeves, and burst into sobs.

At length, she dried her sniffles and rose, dragging her feet to the wide frame.  Casting one last look of longing out at the pitch gloom, she shut the pane.  …Shutting out pain, and all the brief memories associated with it.

…

She never saw Robin again.

————————–

He sprinkled me in pixie dust and told me to believe Believe in him and believe in me Together we will fly away in a cloud of green To your beautiful destiny As we soared above the town that never loved me I realized I finally had a family

[usedtobewerealpacas-blog]

this is mostly just for me because i was thinking about this while trying to work on my story and i’m still thinking about it this morning and yoo.

nott is remarkably well adjusted. she has gone through some shit. i just watched the temple escape episode yesterday and at the end fjord is joking that she and cad are gonna love swimming and water and her especially, and she just looks him in the eyes and says with great sincerity: “today was the worst day of my life.” and everyone loses it. fjord asks her, really, and she hesitates. [sam looks around. matt gets his -- what do you call it -- ‘overly intent poker face’?] as long as she can remember, yes. worst day of her life, nott concludes. water? had a lot to do with it.

(this is mega fucking long)

it’s legit hilarious, everyone is laughing. a little later, jester finds nott drinking heavily on deck and they have their conversation about first kisses. so in one day, nott: a) almost drowned and almost saw her friends drown b) had to flee for her life through the jungle, leading an enemy band away/parallel to her friends for hours in almost the exact way that led to her death, and then c) when it’s done and she can drink heavily in peace, jester wants to talk about first kisses and she tells jester 95% of the truth about hers, leaving out only the name and the fact she then married the guy.

(and i could do a WHOLE POST about how -- it’s not even subtle foreshadowing, it’s blatantly that nott’s character and story makes no sense, but everyone assumes she is the Joke Character and never pushes on the clues. jester does poke at the story, but doesn’t ask the  question -- goblins play kissing games? just like no one asks when nott says she’s been to lots of festivals before. or how she’s very particularly eloquent -- she uses a lot of formal/big words --  and clearly well educated. and a goblin. etc.)

so she has a shit day… she drinks heavily… and she’s fine, though. she doesn’t freak out. nott hates water and nott does not have to make wisdom saving throws when she touches it. part of it might be that she’s losing her memories and personality to goblinhood -- that goblins are just not by nature ponderous and self reflective and so she can shrug stuff off. 

but part of it also must be that she joined the mighty nein? she stayed in the goblin camp, at the bottom rung of their society, for over a year, until she realized she was forgetting and changing and growing a taste for raw meat and rotten food and things veth would probably be disgusted by. and then she  left and did the only thing she knew: try to find a human town and somehow blend in. she’s not a rugged outdoor survivalist, after all. and this is probably the low moment of her emotional arc, where she believes she can’t ever go home and see her family, where she can’t stay with the goblins because she’s losing herself, and where she has no money or abilities and is terrified and alone.

and promptly is arrested. (i find it fascinating! now that nott has said just how quickly it all happened. i’d always vaguely assumed -- that word again -- that nott had been a drifter for a while, just like caleb. but no! it was weeks. she wasn’t sloppy stealing that wine, she was new to stealing and desperate. and she gets caught.) but then she meets caleb, who doesn’t just treat her neutrally, as a potential partner or convenient companion -- maybe for a few weeks, but we all know man is captain of her fan club. he doesn’t just treat  her as a partner but as a dear younger sister. and then the other nein show up, and she has actual friends, something even veth struggled with, who don’t care she’s a goblin and rely on her to detect traps (oooooops) and fight alongside her and care about her, even if she doesn’t tell  them the whole truth. in particular, she has jester -- they aren’t incredibly emotionally close, they’re one another’s mutual second choices for heart to hearts, but they’re also just straight up friends. two people who just really enjoy the other’s company and silliness. and in particular she has caleb, and so things  don’t often get to her. she externalizes, really. she’s struggling with being a goblin and being on her own? nott will throw everything she has into taking care  of caleb. he clearly, she decides, needs her help. he has a stated and proven willingness to be her protector. i think he believed that was the arrangement and was fine with it: he was going to protect and take care of nott, since she is younger than him and small and like his sister. nott is the one who was like no, i am his guardian, and then it devolved into TEAM RIDE OR DIE. she has shown a repeated reckless willingness to throw herself between people and danger, and often (because he runs from battle) that isn’t even caleb she’s trying to die for. when her past comes out, she admits she never said anything because she didn’t want to add to anyone’s burdens (caleb’s specifically).

(it’s also fascinating how nott turns out to be living this entire -- this narrative where the Woman/Mother must be selfless and how her feelings are less important than The Man’s and how her role should be one of support, except she wraps it up in alcohol and weirdness, and then when it comes out the man she is specifically trying to shelter is fucking devastated and tells her everything and more she is asking him for. caleb never had to say his birth name was bren. that was him trying to show good faith and prove he was trying to share and also demonstrating a commonality with nott: i’ll never get tired of the fact that when he does talk, even though everyone is there, it’s nott he’s talking to. “your name was veth?”)

and i don’t think nott has some elaborate cover for her angst. she does seem kind of happier to have it all out there -- immediately starts making jokes about being a mom  and rescuing her fucking husband -- but i also don’t think she ever had this massive dark pool of it in her, the way caleb does. or that she was hiding her feelings, as jester is wont to. she really is okay. and now she’s a bit better than she was before, because her secrets are out and her friends have immediately rallied to her cause.

and i was planning on actually writing about more because i ACTUALLY wanted to try to think aloud about nott’s personality vs “veth’s” BUT i have to go to work  and so whoopps byeeeeee 

[jmsebastian]

Project Zero 2: Wii Edition and the Remake Dilemma

I’m a firm believer that remakes are typically losing propositions. There are cases that buck this trend as there always are (Resident Evil comes to mind), but when it comes to games that can be considered landmark titles in their respective genres, or just superbly made games, the benefit of a remake is limited to its availability on new platforms. This is something a port could accomplish with significantly less risk of messing with the integrity and intent of the original creation. Sometimes, though, games are completely overhauled for one reason or another. Project Zero 2: Wii Edition falls into this category.

A remake of the 2003 PlayStation 2 and Xbox release, known in the US as Fatal Frame II: Crimson Butterfly, Project Zero 2: Wii Edition uses two basic templates from which it forms its mold. The first is the original game. Fatal Frame II was a pretty big step forward from its predecessor. It maintained the basic underpinnings of exploring haunted old buildings and fighting ghosts by taking pictures of them with a magic camera, but it added some significant and interesting changes. In Crimson Butterfly you don’t go through the whole house of horrors alone. Your twin sister often tags along as your AI companion. This means she can alert you to the location of ghosts, and can also become the target of their attacks. The mechanics of camera combat are tweaked as well, where your proximity to ghosts is used to scale your damage up more than the time multiplier used in the first game. Because of this, ghosts often have jittery animations that make getting close to them risky and capturing them with combo inducing fatal frames difficult. The explorable area is also expanded out to several sometimes connected buildings and the space between those buildings in a small village compared to the single mansion that made up the first game.

Wii Edition borrows Crimson Butterfly’s structural framework practically wholesale. The level design in almost unchanged, the combat parameters are pretty much the same, and your AI sister manages to get in your way just about as often. What’s different is everything else. Shedding the fixed camera angles so common in survival horror games, Project Zero 2 takes its presentation from its console release cousin, Zero: Tsukihami no Kamen. Released four years earlier in 2008, Tsukihami no Kamen completely shifted how the Fatal Frame games were presented to players and how players interacted with them. The camera went from fixed and set tracking to being pulled in over the player character’s shoulder. It became dynamic, the player could direct it with a certain amount of freedom to focus on what they wanted to in the environment. Motion control was also introduced to more accurately convey the feeling of aiming a flashlight and camera around. It was a complete break from what the series had been doing up until that point, and Project Zero 2: Wii Edition fully embraces these changes.

The mix of classic Fatal Frame level design with modern Fatal Frame camera angles and control schemes produces mixed results. For lack of a better term, the game is clumsy. This manifests itself in some interesting ways. First is the unoptimized menu navigation. As you explore the Lost Village, you come across a variety of objects that reveal lore. Most of these are paper documents of various types. Picking one up will open the article so you can read it. To close it, you first press B on the Wii remote to stop reading, then press A to close the text. This might not sound so bad, not adjusting the purpose of a single button to match player intent in context-sensitive ways makes quickly navigating the menu both confusing to learn and quite difficult to do quickly. While the backstory to the Fatal Frame games is interesting and worth taking the time to investigate, repeat playthroughs don’t always require that you read a seven-page journal entry again. The menu system actively works against playing quickly or efficiently. Considering how much time players have to spend in menus, missteps here can add up to some significant time loss.

Time lost to players doesn’t seem to have been a concern for Koei Tecmo when developing this game as it also features unskippable cutscenes. Wii Edition is not a game that is overwhelmed by its pre-rendered scenes, but they are frequent enough that they disrupt play in regular intervals. For first time players, they probably aren’t something you’d want to gloss over as they provide guidance on what to do next but they are far, far less important for those who have played the game before. Not being able to skip these scenes is especially odd considering the odds that many people playing the remake of Crimson Butterfly also played the original and are familiar with the story already. Forcing players to watch cutscenes always ends up feeling like the player is having control taken away from them, and it’s especially painful here due to the more general issues with player control.

Perhaps the easiest target with regard to player control is how it feels to move the player character around. Unfortunately, Mio and Mayu feel very slow. Slow movement on its own is not a problem, but the game does not feel balanced around the movement speed. A prime example is the sluggishness of the quick turn. What was a snappy animation that turned you around 180 degrees in Tsukihami no Kamen became a set piece of animation reorienting the character that feels as if it’s playing back in slow motion. The animation itself isn’t even particularly slow, but the built-in delay to the starting of that animation makes the whole thing feel unnaturally labored. It’s a much less useful technique because of this. Timing it right during combat becomes more a test of how well you anticipate a ghost’s actions rather than how quickly you can react, which is unfair to ask of players when ghosts spend so much of their time hidden from player view.

The slow movement might have been the result of the game taking place in such tight quarters, a problem created when spaces aren’t redesigned to match the other changes. The slow animations feel like a safeguard against players running themselves into walls constantly or rushing past something they were supposed to pay attention to. This is taken to an extreme in one particular room where the player can walk through a pair of hanging curtains. Going through them triggers an especially aggravating animation of Mio nervously pushing the curtain back before stepping forward. These animations are triggered by proximity to the curtain rather than the on-screen prompt to press A like in nearly every other interaction in the game. It’s a particularly bad moment. If you just to happen to be ambushed by a ghost while doing this, suddenly you can rush through the curtains at full running speed with no issue, demonstrating the arbitrary nature of Mio’s movement limitations. Unfortunately, the forced pace feels like it creates more problems than it solves. Players just have to suffer through everything taking a bit longer than it probably should, with backtracking or getting temporarily lost compounding the problem.

Getting ambushed here is about as dirty a trick as the game can play.

Combat also suffers some unexpected clunkiness. All Fatal Frame games are a bit clunky when it comes to wielding the Camera Obscura, though this has the express purpose of making the game both challenging and tapping into the fear of the player, who might perform the wrong action due to a panicked state. In Zero: Tsukihami no Kamen, the imprecise motion controls of the Wii were mitigated by the lock on mechanic. One could argue this made the game a bit too easy, but Project Zero 2 for Wii goes very far in the other direction. The lock on keeps your camera in the vicinity of your nearest target, and the player must adjust their aim within the lock by rolling the Wii remote to either side or pointing it up or down. Locking on happens quickly and is accompanied by a satisfying shink sound that provides the player with positive feedback. Hearing it, you get the sense that the hard part is over and now it’s just a matter of waiting for a fatal frame chance.

Really, your photo album efforts are just beginning as the ghosts can easily disappear out of your lock on, reducing your spirit energy levels back to nothing. What you’re supposed to do is lock on, then diligently follow along, making minute adjustments to the position of the Wii remote in order to keep the ghost centered in the viewfinder. This is no easy feat, especially if your Wii remote calibration is off or you have a less than ideal location for the sensor bar. The semi-automated lock on and precision aiming feel at odds with one another. Adding in the analog stick of the nunchuck on top of that for turning your character around and you have three methods of controlling the aim of the Camera Obscura, all of which just get in each other’s way. Its lack of complementary components is all the more surprising since it had worked so much better in the previous Wii effort. While Tsukihami no Kamen’s combat could certainly have used some fine tuning, Wii Edition reduced that complete package back down to its individual pieces without remembering how they were supposed to fit back together.

The game really forces you to upgrade as much as possible since your basic film does very little damage and getting fatal frame combos is quite difficult compared to the other games in the series.

A quirkier addition for combat scenarios is the blacking out of the screen during certain encounters. There you are, tracking a ghost as it glides around the room while you charge your spirit meter, when suddenly the room goes completely dark. You lose the ability of your filament to point you toward the ghost’s position right along with the ability to see anything. It’s supposed to add tension, maybe even give you a fright. The first time it happens, it gets close to accomplishing that. At the very least you’ll be surprised. That raising of the stakes fails to deliver once you figure out that the underhanded tactic of your spectral enemy goes away after a few seconds and in the meantime, you can just run around to avoid getting caught unaware. It’s a fun new trick to see once, but it doesn’t force the player to reassess their predicament or use new strategies to deal damage to ghosts. The same exact methods of evasion work just as well, you simply have to wait until the lights come back on to hurt your foe.

Since the game was released in PAL regions, it did receive localized voice acting in English. What might be a surprise to those of us in North America is that the dub was done with English voice actors, meaning it differs wildly from the original English language dub that was produced for North America and PAL regions. For those familiar with the original game, it’s quite off-putting to hear these new voices. For a game so rooted in being Japanese, non-Japanese voice acting always felt a little strange. To their credit, the actors who worked on Project Zero: Wii Edition did a fantastic job, and once you’ve become accustomed to it, I find that it often outshines the original English dub. Sadly, the English dub is the only one you can choose from despite its release in multiple European countries and featuring several language options for the subtitles and menus (I played the Italian release, complete with box art and manual, printed in Italian). The Japanese audio isn’t even available, which is a real shame, as it would have been nice to give the characters their presumed native language to give it that much more coherency. Of course, multi-language tracks were still uncommon in 2012, so you take what you can get.

Aside from getting an English dub, the greatest thing about the PAL release of Wii Edition is that it made the game available to a wider audience. If you only happen to have a North American Wii, however, you face the same kinds of problems trying to play this game as you do trying to play the fourth game. Without a PAL or Japanese console, you can’t simply pop a disc in and start playing. If you don’t want to invest in another console for a single game, then the easy answer is emulation. Wii emulation is in a very good state, so the game is easily playable on PC, though you are likely to get some audio stuttering and maybe a bit of slowdown. You can even get a USB sensor bar and pair your Wii remote with your computer to replicate the control scheme exactly. If you want to play on your North American console, you can also do that thanks to the robust homebrew community for the console. Bypassing the region lockout using sideloaded applications means you can play the game on actual hardware exactly as one would expect, and it works flawlessly. If you really want to, you can also track down an undubbed version of the game which features the original Japanese audio with the texts of the various PAL region languages.

With so many available options to play it, the question really becomes whether or not it’s worth playing. For anyone who loves Fatal Frame, the answer is easy enough. Yes. It’s interesting to see the game redesigned for a completely different perspective. It’s fun to hear the extremely different voice acting, and at its core, it’s very much the same type of game that all the games in the series are. You can’t really go wrong with it in that regard. For those who might be coming late to the series, I’d have to recommend the original over this version. Crimson Butterfly is readily available, can be played digitally in HD via the PlayStation 3, and simply holds up better as an overall package. If you love motion controls but only have room in your life for one Fatal Frame game to try, then you’re better off going with Zero: Tsukihami no Kamen. It’s more responsive animations, more appropriately designed locales, and tighter Camera Obscura mechanics make it the obvious choice. It also incorporates the Wii’s motion control gimmicks in interesting and surprising ways that truly enhance the experience, something Project Zero 2: Wii Edition curiously omits. For a remake, Wii Edition doesn’t make much of a case for itself being the definitive version. It acts more as a companion piece to the original, a super new game plus, almost. It’s one to come back to only once you’ve made your way through the rest of the series and still want more 

[7r0773r]

The Hundred Brothers by Donald Antrim

Elsewhere people came and went, played card games and chess, tended to one another’s injuries, chased the bats. These men’s lives seemed, for the moment, untouched by fear. But I did not envy them. I felt the way humans must have felt in earlier times, at the dawn of our history, when the world was alive with primitive dangers and life depended for its preservation on the graces and fancies of hateful gods. 

“Go ahead, kill me,” I commanded the dog. He held on to his bone. What was he thinking? There was no way of knowing. He was just a dog. 

Winds blew and the music played. Snow piled up. People talked but I was not paying attention to their conversations. I felt the cold air. Gunner’s eyes shimmered and I held my book close to me. It was easy, looking into the dog’s mouth, at those white teeth and black gums, to imagine the power and authority our ancestors must have felt with companions like Gunner at their sides. 

What an animal. What was he doing with an alcoholic like Chuck for a master? “You understand about death, don’t you?” I said to him. He growled quietly then readjusted the bone, expertly, in his teeth. Snap snap. I regarded this as an answer of sorts. I confided to the Doberman, “Once upon a time men celebrated the seasons of death and rebirth with sacrifices and burnt offerings. The world was cold and forbidding, and if you didn’t watch out, your enemies would come up behind you and kill you with a spear or a club. A single night’s foul weather could destroy your crops, and then you might starve. Each day brought terror. Angry spirits unleashed thunder and lightning, diseases and pestilences, every species of ferocious beast. Men developed language to communicate their terror to one another. People were in pain all the time. They believed they would be rewarded for their pain. This is what is known as the human condition.”

 It seemed to me that the dog was paying attention. What a fierce nose Gunner had. Perhaps he knew, from my serious tone of voice, that I was speaking on weighty matters. I told him, “Over the years mankind has devised many ways to alleviate the pain of living, and much of human history can be understood as a death march toward this goal. Although suffering in life can sometimes be postponed, it can never be avoided. This is the central lesson of the world’s religions. Please don’t drool on the book. All right, Gunner? Good boy. This is the central lesson of the world’s religions. Where was I? The pain of existence is ours to bear. In order to bear it we must make sacrifices. We must offer ourselves up before God and our fellow man. That is the function of the Corn King.” 

The dog really did appear to be listening. It was as if he knew—was letting me know that he knew—what I was talking about. Of course I realize it would be going too far to suggest that animals comprehend the symbolic realm. But I gave Gunner the benefit of the doubt. “The Corn King is an archetypal harvest spirit. His story is as old as recorded time. In rude societies, before the dawn of civilization, when it was believed that spirits resided in all things, in the mountains and lakes, trees and grasses, cats and dogs” —I gave Gunner a smile; his ears pricked up and I went on —”no spirit was regarded with greater awe than the spirit of the corn. From corn came food and grain alcohol. Life depended on the harvest, and so human beings were routinely sacrificed to ensure the fertility of the crop. These were martyrs. While alive—and death was painful, very painful, Gunner—the Corn King’s human representatives were worshiped as gods. It was their blood that enriched the earth, their tears that brought the rains, their flesh that fatted the land. They died so that others might live. Today, mimicry of this ancient practice is common in many popular religions.” At this point the dog began to lose interest. He made a yawning sound and fiddled with the bone in his mouth. I quickly said, “In some instances, the Corn King’s still-beating heart was cut out and devoured!"

I felt nervous telling Gunner this. That blood on my shirtfront was a perfect target. We’ve all heard the frightening stories of domesticated animals regressing into feral states and tearing their owners limb from limb. Gunner had made short work of that pork chop. The dog’s nose twitched. Perhaps he had eaten enough. I explained to him that modern men had lost touch with ancient rhythms of death and regeneration, but that it was possible—if you took intoxicants and wore the right mask and costume—to regain connection with the primeval aspects of the Self, and to enact, in ritualized form, the important celebrations of sacrifice and abasement; that this was, in some respects, what family get-togethers were all about. I wrapped up, “You see, Gunner, the Corn King is my gift to my brothers. Every year I have a few drinks, then get in costume, and they try to catch me. Luckily, most of those guys are out of shape. Ultimately, the Corn King must die. In this way the family of man can prosper and thrive.” 

This ended my talk with the dog. But Gunner did not back off right away. First he allowed me to pet his head. What a pleasant creature. He only wanted what we all want from time to time, to submit and feel love. “Gunner, how would you like to be my dog?” 

My fear of him was gone. In fear’s place was a new self-possession; I understood why people keep animals. I rose from my chair—carefully holding A Complete Guide to Heraldry in front of my body, just to be safe—and I didn’t even bother pretending to have a hurt foot. So what if Lester said something? It was late and the time had come at last to go over to the African masks, choose a colorful headdress from the wall, put it on my head, then run around and shout the kinds of obscenities that get people mad. 

“Come on, Gunner.” (pp. 166-70)

***

There is nothing quite like the primitive ecstasy of pissing somewhere besides the bathroom. I rate the act very highly. Pissing in nature or in some dark corner, as I was, captures and brings into consciousness certain archaic versions of a man’s most secret Self—those aspects of character and identity that remain, in civilized daily life, veiled, disguised, sealed away: the messy, narcissistic, bodily Self of infancy; the wild, magnificent, feral Self of mankind’s prehistoric beginnings; that communal, loving Self expressed in each man’s deep bond with his fellow men; and of course the sovereign, assertive, fiercely territorial Self that announces, Get out of my way! I’m taking a leak! 

Feeling such emotions, it was impossible not to elevate the stream and hose down, as they say, a few literary masterpieces. 

I may as well point out that I was able to hit titles all the way up on the third and fourth shelves. When you get into your middle years, as I have, these things matter. 

I shook and put it away. Since I’m being frank, I ought to say that I went through the mature man’s generic process of shaking: several rapid shakes followed by a brief rest followed by more jiggling, and the whole ordeal repeated until everything feels comfortably dry and secure. As I grow longer in the tooth, I find myself shaking off for greater and greater stretches of time, and I always use this time to fret morosely about my health in general, and about the likelihood that a grave illness, conceivably located in the bladder region, will overtake me in the future, maybe imminently. In this way a pleasurable, natural act becomes the catalyst for somber reflections and an unnatural, incipient depression. So much of life follows this pattern exactly, I think. We begin to lose ourselves in a joyful or gratifying act—it can be a creature comfort or something complicatedly emotional like stimulating conversation or the solitary immersion in a poem, a beautiful landscape, or a work of art—and we forget, in the moment of serenity, all the pain and trouble of life. Until, quite suddenly and, as a rule, shockingly, this very forgetfulness, our fleeting holiday from care, becomes nothing more than another occasion to remember how truly infrequently happiness comes to us, and how likely we are to die in some horrible way. Then, disgusted with ourselves over our inability to enjoy life, we halt the pleasurable activity and move on, as speedily as we can, to other business. It was precisely this kind of dispirited self-loathing that led me to give myself only a few cursory shakes, so that when I replaced myself in my trousers, I felt urine dribbling down my leg. As always when this happens, I became enraged. I became angry and irrational. The night was cold, and I struggled against despair. 

The struggle, however, was unavailing. 

I wept. 

At first I wept for myself—for my incontinence, obviously—and then for my entire, ridiculous existence, and for the loneliness I felt, not only there in the literature section in the late hours on that snowy night, but all the time, constantly, ever since I could remember feeling anything at all. As I wept, I felt lonelier and lonelier and lonelier. I envisioned, one after another, my brothers, the bloated, red faces of my brothers, all my beloved brothers but in particular Hiram and Virgil and Maxwell. These three I loved best. And also George. Would we ever see George again? After a while I was weeping for the rose garden and the former grandeur of our trees and lawns, those green fields where we played as children. We had always hurt one another in our games; hurting was the object of our games; and this made me cry more, and I held the blue pillow to my breast. I wrapped my arms around the blue pillow, hugged it to me, and let the tears come. I was standing in water up to my ankles, and this for some reason became another pressing sadness. I suppose it was because the water was rising that I felt so affected. Before long I was crying for, it seemed, everything. Everything in the red library was deserving of tears. Those eyeless, emaciated, deaf and dead animals on their barren squares of wall always reminded me of past Dougs, the Dougs who perished as youths; and, as I wept, they reminded me, the animals, of myself and of what would surely become of me one day, maybe soon. I was nothing but another Doug. Hiram was the oldest. Father I know really, only from his occasional, shadowy appearances above the lights, his intermittent manifestations as a damp stain. Actually, this is not, strictly speaking, the whole truth. It is true in the sense that it describes the way I have felt for as long as I have known my feelings. I remember, I think, our father's face and his voice. I remember his mustache. I remember our father in his underwear at night. I remember the hair on his legs. I remember the smell in the bathroom after he left it. I remember his unhappiness and his dread of our happiness, and I remember him saying, “How's my Doug?” I remember his body’s smells, his smells of tobacco, of course, and of alcohol and cologne, a cologne like lavender you never smell anymore. I remember the pleasure of seeing him enter the room. I remember certain stories and jokes. Actually, I forget the stories and the jokes, though I remember that these existed. I remember his conviction that he was hated, and I remember the thunder his footsteps made crossing the floor. Time after time my brothers and I have joined together to eat, drink, and bury that man. All we ever did was eat, drink, and injure each other. The sadness of our cruelty was more than I could bear. Tears rose in waves that washed up from the center of my body. The muscles in my sides felt as if they would tear from the strain of that sobbing. The water around my feet was steadily rising. I knew it was prideful to overinterpret broken pipes and a leaking roof, but on the other hand it did seem that I was not completely alone in my crying, that the red library was dripping and pouring out its own tears, its own remorse. 

I thought these things because I had failed to shake off after urinating. What a degenerate I was. What sadness, to come to such a point in life, this point at which the simplest acts, acts that promise pleasure, give access only to terrors and an overriding impression of loss. (pp. 183-87)

***

There is an impression, held true in our society, that the father is surpassed, overtaken, outlived, and in these and other respects, killed by the son.

But this is, I think, actually not the case. In truth, I think, it is always the son who is killed by the father. Couldn’t it be argued that each man dies the death made for him by his father? (p. 205)

[stillellensibley]

The Cabinet of Dr. Caligari

by Merrick Doll

The Cabinet of Dr. Caligari is a German film from 1920, directed by Robert Wiene and written by Hans Janowitz and Carl Mayer, both of whom emerged from World War I strongly embittered against the wartime government.  The two writers used the powerful new medium of film to create an expressionist masterpiece, which became highly successful and is generally regarded as one of the first horror films.  It recounts the story of a mad fair performer and the sleepwalker who he sends to commit murders in the night.

Plot Summary

The plot of Caligari is a frame narrative that begins with Francis sitting in a courtyard with another character.  The two see a seemingly mesmerized woman (Jane) walk by, inspiring Francis to tell the story of some recent, strange events.  The movie then moves to the inner story, set in a fictional North German town, into which a fair has recently moved.  With the fair come Dr. Caligari and his spectacle: a somnambulist (sleepwalker) named Cesare who, in a dreamlike trance, can prophetically answer questions.  Before he is allowed to perform, Caligari must obtain a license from the arrogant town clerk, who laughs at Caligari about his show.  The next morning, this clerk is found stabbed to death.

Francis and his friend Alan attend the fair and step into Caligari’s tent, where they observe Cesare, in a trance, step out of a cabinet and answer questions from the audience.  Alan excitedly asks Cesare how long he has to live, to which Cesare replies, “Until Dawn.”  When dawn comes, Alan is discovered dead, stabbed just like the clerk.  This causes Francis to suspect Caligari and Cesare.

Francis’s investigations into Caligari prove unfruitful, although a copycat killer, who claims he is not the sought-after murder, is caught in the act of trying to kill a woman.  Though this man is in custody, Francis remains suspicious of Caligari and returns in the night to peer through the window of Caligari’s wagon, where he observes the somnambulist asleep in his box.  At the same time, Cesare is in Jane’s room, with a knife poised to stab her, but, struck by her beauty, decides instead to carry her away, pursued by her awoken father and other citizens of the town.  Cesare eventually drops Jane and dies of exhaustion.  Jane later insists that it was Cesare who attacked her, though Francis swears he saw the sleepwalker asleep in Caligari’s wagon.

To further investigate, Francis and a couple of police officers search Caligari’s wagon and discover that the Cesare in the box is actually a dummy.  Caligari escapes and takes refuge in an insane asylum, followed by Francis.  When Francis calls upon the director of the asylum, he is horrorstruck to learn that Caligari and the director are the same person.

The next night, while Caligari sleeps, Francis searches Caligari’s office, finding indisputable evidence of his crimes.  To make Caligari confess, Francis confronts him with the corpse of the dead Cesare, which causes Caligari to go insane and be put into a strait jacket.

The frame then closes as Francis finishes his story.  He and his companion return to the asylum, whereupon they meet a group of other patients, among them Cesare.  When the director appears, Francis accuses him of being Caligari.  Upon hearing this name, the director claims that he now knows Franics’s affliction and will be able to heal him.

Caligari and Expressionism

The Cabinet of Dr. Caligari is often hailed as a masterpiece of German expressionism.  Kasimir Edschmid defines expressionism as “a reaction against the atom-splitting of Impressionism, which reflects the iridescent ambiguities, disquieting diversity, and ephemeral hues of nature."[1]   To the expressionist, it would be absurd to reproduce the world as purely and simply as it is (Eisner 10); instead, the artist focuses on feelings and perceptions, which reflect expressionism’s relationship to modernism.

Expressionist artists commit themselves to impulses, which results in the desire to express emotion through extreme visuals.  Often, aesthetic value is exchanged for emotional power, and though expressionist artwork may not be the most pleasing to the eye, it nonetheless elicits an emotional response from its viewer.  This is achieved in Caligari through its unique set design.

The Cabinet of Dr. Caligari has become synonymous with cinematic expressionism.[2]  The visuals in the film pay homage to the expressionism in painting as practiced in the 1900s and 1910s (Reimer 71).  Reality is reproduced as if it were reflected in a fun house mirror.  The distortions, however, do not obscure the objects but instead render them in distorted shapes.  Elongated shadows are painted onto set walls, and the streets wind crookedly past houses that are equally crooked.

Everything in the background is off center and slanted, as if it could slide right out of the frame.  The scene in which Cesare looms over the sleeping form of Jane excellently portrays this.  Cesare must first climb through a trapezoidal window into a house whose walls are diagonal.  These walls only serve to match the equally slanted furniture, and all of these effects serve to enhance the distorted reality seen throughout the film.  The world, created to be both familiar and strange, speaks to the physical and psychological horrors Germans experienced after the end of the war (Reimer 72).  According to Kracauer in his From Caligari to Hitler, “to a revolutionized people, expressionism seemed to combine the denial of bourgeois tradition with faith in man’s power feely to shape society and nature.  On account of such virtues it may have cast a spell over many Germans upset by the breakdown of their universe."[3]  Kracauer's discussion of Caligari in his book is one of the most well-known and lasting interpretations of the film.

Interpretations

Kracauer saw the film as a revolutionary story in which Janowitz and Mayer attacked the omnipotence of a state authority that manifested itself in universal conscription and declaration of war during World War I (Kracauer 64).  He saw in Caligari a figure of unlimited authority that idolized power and used this power to violate all human rights and values.  Cesare represents the proxy through which Caligari commits his crimes; he is not a guilty murderer but actually a victim of Caligari himself.  Kracauer claims that Janowitz and Mayer created Cesare “with the dim design of portraying the common man who, under the pressure of compulsory military service, is drilled to kill and to be killed” (Kracauer 65).  The revolutionary aspect of the story becomes apparent in the end, when Francis and reason overpower the insane authority of Caligari.

The frame, however, would appear to negate this revolutionary story.  The revelation that Francis is insane and a patient in the asylum himself casts doubt on the veracity of the story which he recounts, absolving Caligari of his crimes and diminishing the social critique of the story.  Kracauer, however, offers an explanation for this frame.  He claims that the original screenplay written by Janowitz and Mayer did not include the frame at all; the production company and the director Wiene forced the frame, “a change against which the two authors violently protested. But no one heeded them” (Kracauer 66).  Thus a revolutionary film is transformed into a conformist one.

Kracauer believes this frame to reflect a general trend in public thought at the time.  During the postwar years, Germans tended to withdraw from the outside world into the intangible realm of the soul.  “By putting the original into a box, this version faithfully mirrored the general retreat into a shell” (Kracauer 67) and so the original story was not mutilated but framed in symbolism.

The fair also represents the general trend of Germans retreating into a shell to escape the postwar world.  People of all classes and ages enjoy losing themselves in the fair, in the glaring colors and sounds.  This is yet another hint at modernism, in which cities are portrayed with the same mind-numbing effects.  Adults regress back to their childhood days in which games and serious affairs are identical and there is little responsibility (Kracauer 73).  The fair reflected the chaotic condition of postwar Germany.

Thomas Elsaesser, in his Weimar Cinema and After, claims that the purpose of the expressionism and peculiar style of Caligari is simply an attempt to sell itself.  “As entertainment made for profit, Weimar cinema was responsive to the point of clairvoyance to the desires and pleasures as well as anxieties and secret fears of its primary audience."  Another critic who agrees with this assessment is Lotte H. Eisner, who in her The Haunted Screen admits that “German industry immediately latched on to anything of an artistic kind in the belief that it was bound to bring in money in the long run” (Eisner 19).  Her assessment of the movie focuses mostly on its aesthetics and how expressionism is used in the film to create a visual representation of the world in the mind of a madman.

The Cabinet of Dr. Caligari is praised worldwide for its anti-authoritarian message and expressionistic style.  Though this style may have been used only as a way to sell itself, it nonetheless offers a stunning depiction of post-war Germany.  The film is cited as one of the first horror films and influenced the development of film noir.  Caligari remains to this day an important part of the history of German cinema.

↑Lotte H. Eisner, The Haunted Screen (Berkeley: University of California, 1969), 10. All subsequent references will be made in the body of the text.

↑Robert Reimer, Historical Dictionary of German Cinema (New York: The Scarecrow, Inc., 2008), 71. All subsequent references will be made in the body of the text.

↑Siegfried Kracauer, From Caligari to Hitler (New York: North Rivers, 1947), 68. All subsequent references will be made in the body of the text.

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[sage-nebula]

Hey, I've been offline for a while so I'm a little behind on your MM posts, but I see that you said Anime Otogi is like Zen but Manga Otogi isn't? But I'm not really sure how the two differ that much so if you could shed some light on that please? I know you're really into MM right now so I hope it's not too out of your way to answer a non-MM ask lol

Haha, well, I have also been really into Pokémon and Voltron: Legendary Defender recently, but I still answer the YGO questions that get sent my way even though I’m not super into YGO right now, so it’s fine.

There is a world of differences between manga!Otogi and anime!Otogi. Otogi is one of the three characters Studio Gallop fucked over the most when they made their anime adaptation (the other two being Jounouchi and Bakura Ryou), and so honestly it’d be easier to make a condensed list of things they have in common versus differences between them. Really, about the only similarity is their name and appearance. That’s … that’s really it. (Oh, and the fact he created Dungeon Dice Monsters in both versions. That, too.) Otherwise, it’s like manga!Otogi is a lake while anime!Otogi is a mop puddle. The differences are that stark.

But for a more in-depth explanation:

Manga Otogi:

In the manga, Otogi Ryuuji is the son of a wizened former apprentice of Sugoroku’s, back when Sugoroku was still acting as a master of games. About Years ago pre-canon, Otogi’s father (Mr Crown) challenged Sugoroku to a Shadow Game over ownership of the Millennium Puzzle. At the time, Mr Crown was still young. However, the Shadow Game he challenged Sugoroku to was a game called the Devil’s Board Game, in which players bet years of their life. At the end of the game, the loser would age according to the number of years they had bet. Mr Crown had bet fifty years, and so when he lost, he aged fifty years in a single night.

As a result of this, Mr Crown became obsessed with seeking revenge against Sugoroku. In order to accomplish this he had a son, Otogi, who would be able to carry out his revenge for him. (And yes, you read that correctly: In the manga, Otogi was born solely to seek revenge against Sugoroku; he would not have been conceived otherwise. And to be honest, I have doubts that Mr Crown is his biological father at all, but that’s just speculation.) Due to being raised for the sole purpose of revenge, Otogi was sheltered, tutored, and trained in the art of gaming, and was not allowed to socialize until he was sixteen and it was time to get revenge on Sugoroku by Otogi playing Yuugi in Dungeon Dice Monsters over ownership of the Millennium Puzzle.

As a result of this, manga!Otogi …

… is quite serious in terms of personality. Otogi is a rather sincere, but also rather serious, person. Due to the abusive environment he was raised in (and Mr Crown was quite abusive to him, even in the present day), Otogi tends to take most things in life seriously, regarding everything with a scrutinizing eye and honest judgment. While it’s not impossible for him to smile, he really doesn’t have genuine smiles very often, and he lacks the comic relief spawning flippancy the anime gave him. That said, he’s not stoic; Otogi can actually be rather emotional, and there are times when he …

… is quite tsundere. Otogi is an honest-to-god tsundere in the manga when it comes to joining the friend squad. In the manga, Otogi gets involved in the Battle City arc when he decides to tag along with Honda to go pick up Shizuka from the hospital after her eye surgery. When Honda pokes fun at the fact that Otogi made up an excuse to do this, Otogi responds in the most tsundere way possible:

“I-It’s not like I like you, or anything!!” is classic tsundere, and Otogi uses it here to mask the fact that he’s actually tagging along with Honda to the hospital because he wants to get closer to the friend squad. This is a far cry from the anime, where he just happened to stumble across Honda and Shizuka when they were fleeing from the Ghouls, and decided to tag along after that because ¯\_(ツ)_/¯ . In fact, to that end, manga!Otogi …

… wants to learn about the power of unity, and specifically wants to learn what it means to gain strength from bonds formed with other people. Unlike in the anime, where Otogi’s character during Battle City is entire wrapped up in a love triangle between himself, Honda, and Shizuka (which does not exist in the manga; neither Honda nor Otogi have feelings for Shizuka in the manga, as well they shouldn’t give that they are in their second year of high school and she is a junior high student, very much a kid to them), Otogi has his own character arc in the manga that focuses on his desire to find out what it’s like to have friends and companions to rely on, and what it’s like to draw strength from them, given that this was something denied to him as a result of his upbringing. In fact, this is the entire reason why he decides to join the friend squad in Battle City:

As you can see, Otogi is not only quite serious and focused on this question he wants an answer to (rather than gushing over how cute Shizuka is, like in the anime), but it actually is a question he wants an answer to, and an actual character arc in comparison to the comic relief he was reduced to in the anime. Otogi never had friends growing up, in the manga; he was never allowed to have them. Now that his father has disowned him and he fulfilled his “purpose” of revenge, he’s free to seek out friendships and learn what it truly means to gain courage and strength from the bonds he forms with others. But on that note, in the manga, Otogi …

… is not a womanizer, even a little bit. Whereas in the anime he had cheerleaders following him around and gushing over him, in the manga, Otogi doesn’t care about that at all. While the girls at school still do fawn over him for being attractive (much as they did Bakura when he transferred in), Otogi doesn’t pay them too much mind, instead focusing his attentions on Yuugi and Jounouchi. Furthermore, when he plays Dungeon Dice Monsters with Yuugi, they are alone; the only audience for this match is Mr Crown (who watches in secret for the first half), and later the Spirit of the Ring (since he senses that the Puzzle is in danger). Otogi is confident in his gaming skills, but he doesn’t have the massive narcissistic streak in the manga that he has in the anime. He certainly never spends time thinking about how suave, smooth, or good-looking he is, and it actually seems like talking himself up is very far from his mind in the manga. Additionally, while he was raised for revenge against Sugoroku (by defeating Yuugi), and while he is confident in his gaming skills, Otogi …

… does not hate Yuugi, and is actually quite kind. He really is not a jerk in the manga, at least not to an extravagant amount. He does come off as something of one when he is first introduced (and acts like a bit of one throughout the DDM match due to the pressure that is on him to win), but when Mr Crown shatters the Millennium Puzzle partway through the match, Otogi stops the match to help Yuugi pick up the pieces, apologizes to Yuugi for the fact that his father broke it, and then declares that he’s going to continue to play the game honorably. He begs Mr Crown to stop lashing out about vengeance once the match is through (even though this gets him disowned), and as I said, really wants to understand what friendship and companionship are as the manga goes on. And as far as not hating Yuugi goes, even before they became friends (and in fact, even before they had played Dungeon Dice Monsters at all!) Otogi felt positively about Yuugi, simply because of the card games they had played in the classroom:

(Note: This leads Mr Crown to demand if Otogi had lost against Yuugi, and when Otogi stammered his response (“Uh, well—”) Mr Crown realized that he had. As a result, he struck Otogi across the face with that riding crop he’s carrying and screamed at him for losing. So yeah, having a rare genuine smile and talking about how amazing Yuugi was got Otogi punished pretty harshly. I was not exaggerating when I said Mr Crown abused him.) Otogi genuinely likes Yuugi, even before they play DDM, though he tries to repress it while they play because he knows it is his duty to get revenge on his father’s behalf. So while he does have his moments of being a jerk when first introduced (particularly toward Jounouchi, given that he wanted to take Jounouchi away from Yuugi as a start on the revenge), overall Otogi is a kind person who is not full of himself in the manga, and certainly not to the playboy extent he is in the anime. And actually, at times he …

… is quite sensitive. This ties into how I mentioned that he’s emotional and kind up above, but Otogi is actually quite sensitive to the feelings of others. Part of why he’s so bent on revenge for his father’s sake is because he legitimately feels bad and uncomfortable with how disfigured Mr Crown is due to the Devil’s Board Game. Straight up, he has a difficult time even looking at Mr Crown’s true face as a result of this: 

And, as stated, felt bad when Mr Crown shattered the Puzzle and made Yuugi cry (from shock, anger, and hurt) during the DDM match:

He’s also very forgiving his father, despite how Mr Crown disowns him and tells him he no longer has reasons for living now that he failed to carry out revenge as planned. Otogi is quite emotional and sensitive, perceptive to other’s feelings. He’s quite conscious of it.

I could probably go on, but all in all, Otogi is not the selfish, borderline narcissistic twit that he is in the anime. He’s actually a serious character with depth and a true character arc in the manga, and though he only has a small role, I’d say that he’s still very good. By contrast …

Anime Otogi:

In the anime, Otogi Ryuuji appears to be the sole owner of the Black Crown game shop, given that his father, Mr Crown, apparently does not exist. Some time shortly before Duelist Kingdom, Otogi developed Dungeon Dice Monsters because he felt like it. He contacted Industrial Illusions for assistance with getting his game created, and after a meeting with Pegasus (whom Otogi idolized), it seemed as if his dream was going to come true and the partnership was going to go through successfully. However, Pegasus disappeared after the events of Duelist Kingdom (because he went into a coma in the anime, whereas he was outright murdered in the manga), and as a result the partnership between the Black Crown game shop and Industrial Illusions fell through. Enraged that he was never going to get Dungeon Dice Monsters published now, and feeling that Yuugi must have cheated somehow to defeat Pegasus, Otogi enrolled at Domino High so that he could challenge Yuugi to Dungeon Dice Monsters, a game Yuugi had never played before, because somehow beating Yuugi at Dungeon Dice Monsters would prove that Yuugi had cheated during his Duel Monsters match with Pegasus. OK.

As a result of this, in the anime, Otogi …

… is petty, selfish, and self-absorbed. Whereas he was raised as an instrument for his father’s revenge in the manga (and was therefore acting not out of his own desires, but rather for his father’s desires, and any personal feelings he had were simply feelings to make his father happy), in the anime he seeks out revenge against Yuugi because he’s mad that his partnership with Pegasus fell through as a result of Duelist Kingdom. It’s petty, because although it’s disappointing to have a business deal fall through, it’s not as if there aren’t other ways to get that game published. It’s something trivial to seek out revenge for, and makes him seem like a less dangerous Kaiba rather than his own character. He’s also rather selfish and self-absorbed, because not only is he seeking revenge over an inconvenience and injustice he feels he faced, but he feels that he faced that injustice because, in his mind, the world seems to revolve around him. It’s not that he doesn’t know how to socialize, but rather that he doesn’t care to because he’s so wrapped up in his own little world and sense of self-importance and genius. And on that note, he …

… is fully aware of how cool and good looking he is, and relishes the attention. The girls fawn over him in the anime, too, but this time he actively encourages it. He brings cheerleaders to the matches at Black Crown, and broadcasts the Dungeon Dice Monsters game on huge screens outside the game shop so that everyone can see him defeat Yuugi. During the Battle City arc, he’s constantly flaunting himself and bragging to try and impress Shizuka, and is still willing to denigrate others (namely Honda) in order to make himself look better. This behavior is not present at all in the manga, particularly because (as I said) Otogi ignores the girls in the manga and plays Dungeon Dice Monsters privately with Yuugi in a very secluded back room. And speaking of the girls, in the anime, Otogi is …

… a womanizer. The cheerleaders aside, Otogi’s entire “arc” in Battle City in the anime is the love triangle going on between himself, Honda, and Shizuka. His entire reason for being there is because he wants to get into a thirteen-year-old’s pants. He seems to have no other thoughts or concerns on his mind, aside from occasionally having commentary to add about the duels going on.

And that, honestly, is the most that can be said about him in the anime. He’s flippant and full of himself, but he has about as much depth as a mop puddle compared to his manga counterpart. He’s one of three characters the anime treated the most horribly, with Jounouchi and Bakura Ryou (so, not the spirit, but actual Bakura) being the other two. It’s sad, but it is what it is. Hopefully someday the anime can be rebooted and actually done right.

[mynewsblog21]

The Things Movie Web Geeks Don't Want You To Know

At the point when I originally began composition for news sources four years prior, I never knew how incredible the assessments of film fans truly were. I was dumbfounded to discover that studios fly journalists out for nothing to talk with superstars on set visits. I was much increasingly flabbergasted about 'Free drinks' film industry occasions, yet the greatest thing that astonished me was that web nerds have fans. At the point when I opened my first fan mail 4 years prior, I realized that putting my composing on the web would have been fun, testing, and an incredible chance to fabricate my resume. It was additionally something I needed to exceed expectations at. In the wake of composing for a couple of years, I before long found the little-known techniques. Perusers of well known news sources find a workable pace positive things journalists find a workable pace. We make companions, we find a good pace, we love to engage you in the most ideal manner we know conceivable. Be that as it may, we are human and none of us are perfect....especially film web nerds. We as a whole generally share similar imperfections and abnormal eccentricities that we don't care to concede, and you will as a rule discover us rationalizing them on the off chance that they're brought up to us. So here are a few things that you may jump at the chance to think about us that we might all want to take to the grave.

1. WE GET STARSTRUCK

Numerous individuals assume that online film columnists are extremely proficient and never lose their cool while talking with somebody known in media outlets, yet most occasions we put our game faces on for interviews. A ton of us that compose are only simply humble film nerds that have been allowed to compose for a film site. Odds are during a meeting, the primary idea in web nerds heads is thinking about whether and how they can unresponsively request an image with the entertainer/on-screen character a while later. As a matter of fact, from individual experience I have seen that web essayists don't typically get apprehensive over the A-rundown entertainers. It's the faction/B-list entertainers that truly find a workable pace. Truly, I have met a couple of notable on-screen characters, however when I met Greg Nicotero at a show, I got so bothered and humiliated https://gomovies-online.vip/latest . WE ARE PRESS WHORES

Truly, we do like seeing our names on famous web crawlers. In any case, there are 3 things we as a whole fantasy about observing our names on: Movie Posters, t.v. spots, and DVD fronts. We will do anything just to get an ad spot that will in the long run control individuals into seeing the film. We may over adorn audits for the expectation that it will be taken a gander at. (We as a whole know there are essayists out there that will even level out lie about frightful motion pictures just to get a decent ad spot.) We likewise know the correct expressions that will make for a decent ad spot. We realize that motion pictures like being contrasted with other well known motion pictures. (For instance on the off chance that you find in an audit, "It's (FILL IN THE BLANK film) meets (FILL IN THE BLANK film)!" it's a pre reflected ad spot.) Yup, we may deny it, however we have all done this some time.

3. WE ARE TERRITORIAL

A great deal of us now and then overlook that we are extremely common right now, this is obvious when you perceive how regional a few of us can get. It couldn't be any more obvious, the vast majority of us are simply just in-your-face film fans with a stunning mental ability to store unlimited measures of trifling film information who like to think we are "film elitists." This generally turns out when authors from various locales meet up for occasions or celebrations. Obviously, we for the most part invest the majority of the energy sharing our perspectives on the most recent film news. In any case, get a lot of film web geeks together long enough, and the discussion will undoubtedly transform into a clash of the brains. (Or on the other hand "Who's the greatest virgin?" is the thing that I like to call it.) The once agreeable babble transforms into a horrendous discussion over darken motion pictures and eventually, somebody generally winds up ridiculing a kindred author for not adoring a little known faction on-screen character who truly is only a glamorized extra with sickening dread movies. Since I am a lady, I am generally tested on my film information each screening or occasion I go to.

4. WE LOVE THE COMMENT SECTION

As much as some of you are dependent on composing remarks, we are significantly progressively dependent on understanding them. After specific articles/publications, we will utilize RSS channels and continually revive the website page, just to check whether there is anything new. Truly, I have been in dates or make out meetings and continually pondering what individuals are composing on the site. It doesn't make a difference if the criticism is fortunate or unfortunate, we simply need to see the quantity of remarks go up!! It is a fanatical urgent propensity lion's share of us have.

5. WE ARE INSANELY COMPETITIVE!

At the point when you compose for well known news sources, you warm up to different essayists from various sites when you spread similar occasions, celebrations and set visits. Typically you possibly find a workable pace individuals when you are working, so it's extremely fun when you do see them. Be that as it may, nobody likes to concede this, however when we are covering similar occasions, we are EXTREMELY serious with each other. It turns out to be even more a race than an occupation truly. It's everything about who can get more photograph operations, meetings, special features, and better inclusion! We may have a great time at the after gatherings and love finding each other, yet trust me, when we're not around different scholars, we will race to our inns to transfer recordings and pictures, and compose our articles in the expectations that our pieces are the FIRST thing you find in the Google web crawler (a.k.a. all sites' closest companion) for whatever occasion we are covering.

6. WE DO CARE WHAT YOU THINK ABOUT US

In all honesty, your assessments truly do make a difference to us. (That is correct, we are on the whole like Mark Wahlberg from 'The Big Hit') Your messages or remarks can either represent the deciding moment our day. Without a doubt, a few of us start debate in our articles, yet we would like to be preferred. (Regardless of whether we leave approach to make that almost inconceivable. :P) For each ten individuals who read our articles, we realize that there is continually going to be in any event one individual who doesn't care for or down right HATES what we need to state. Once in a while the negative messages or remarks are so totally nonsensical and over the top, it's difficult to be annoyed by them. (As a matter of fact for those ones we print out for our companions to giggle at)

Be that as it may, despite the fact that we have assembled a tough skin, there are some negative comments that do get under it. Now and then they will set us feeling sharp throughout the day. ( After all,no one loves being known as a douche for preferring a specific film!) However, the positive input is the thing that drives us to continue composing. It puts a grin on our countenances to realize that we put a grin on yours. (As silly as that sounds!)

[filmaccountskool-blog]

My Original Textual Analysis

How family elements are represented in the films 'Warrior' and 'South Paw'?

Introduction-in this essay I will be exploring what different themes, elements and key components of the sport drama genre. For this I have look at the two films 'South Paw', which is about Billy Hope turning to a trainer to help him get his life back on track after losing his wife in a tragic accident and his daughter to protection services. And 'Warrior, which is about The youngest son of an alcoholic boxer returning home, where he is trained by his father for a companions in a MMA tournament which puts him on a collision course with his older brother. For my chosen films they had to be under the certain rules of the assignment it had to be no more than ten years old, and one had to be independent (Warrior) and one had to be Hollywood (southpaw). The my main focus is the family elements of these two films because they are so deeply enrooted in it that it gives heart to both films and a sense of grounded reality to the audience.

 Audio- The audio is used in the film warrior to drum up a dramatic scene in which the two brothers are coming together to discuss their family and trying to make amends but it not going the plan. The use of a non diegetic orchestra emphasize the emotion and intensity of the scene adding to the diegetic sound of the ocean waves crashing, which could symbolize the ease of flow that the characters wish they had. Also because the audience doesn’t see the ambient waves crashing which is asynchronous sound. This gives the effect of calming within the audience because it signals some resolution between the two characters known. This is similar to in the film southpaw when the ambient room noise from the foster home makes the scene in which the father Billy is slapped by his daughter this diegetic sound gives the effect of emphasizing the rawness of the scene. The two films both use diegetic sound to add to the family element of the genre.

 Cinematography- In the film warrior they show over the shoulder shots of both characters from far away walking towards each other this builds suspense within an audience and creates an enigma code making them wonder what is going to happen next. There body language and actions as they walk towards each other suggest cold shelled off from each other similar to how a fighter would walk into the ring with another fighter which is essentially what is happening in this scene, which is what the shots are trying to convey. In the film south paw the use of extreme close ups are repeated to show the emotions and the reactions of the characters which makes actions like when the main protagonist gets slapped by the daughter which then provokes a direct response from the audience of sympathy for the character.  

 Theory- for these two films it follows genre theory well, which is that an audience is expecting something from a certain type of film and getting it. This can be demonstrated with the film covers for example, the warrior one having two people shirtless looking rather serious this suggest they will have some conflict at some point in the future, and on the southpaw one, the main character yelling in gym clothes yelling, which suggests what type of genre it is right off the bat. The other key conventions of genre I have chosen to explore is how the relationships between the characters effect their actions for example in the film south paw the daughter of the main character is in a foster home and is slapping her Dad. The relationship these characters have is a direct cause and effect, the Dad fails at boxing and the daughter is being forced into social services which are the effect of the father’s cause. This is similar to how in warrior we learn that one of the brothers left to start a family and the other brother stayed home and after the death of their mother he joins the army. Because the first brother left the second brother is constantly looking for a new family but doesn’t achieve this because when the first brother comes back he says his real brothers are in the ‘core’. These are an example of cause and effect relationships within the sport drama genre and how actions affect the family.

 Mise en scène

Lighting- the scene in warrior being lit dim (low key lighting) at night this conveys things like loss, aggression and tiredness to the audience that these two characters both have a dark sides to their story and this can be clearer as they start talking to each other because it sets a mood for the scene. This can be compared to the scene in southpaw being lit in bright light (high key lighting) and how it could convey the light of truth being shined on the family, to bring to light the issues and how they have many problems and references to the contrast is an earlier scene leading up to the events to make him loose his daughter take place at night and the significance that these films are trying to convey to the audience is things that happen in the dark can directly affect the things in the light and what matters most.

 Editing- in warrior the constant match of action with the scene the duel monologue in the rest of the film has been leading up to this point on the beach, the significance of this is that the two brothers haven’t seen each other in a long time and as one of the most emotional parts of the film which creates a real emotional connection between the characters. The intentions of the director when doing this emotional connection between the characters is that it makes it more intense for the audience when they fight. In south paw it does a similar thing where the facial expressions of the characters are made really clear to the audience to see that they are feeling this again is to provoke the audience into wanting the main protagonist to progress in the story to save this girl which also links to genre theory and the ideologies of the damsel in distress. A contrast to the two warrior spending an equal time on both characters, in south paw less time is spent on the daughter as the father doesn’t get to see her as much and vice versa.

 Costume- the costume of the characters is important as it reveals feelings/details of and about the characters that can't otherwise expressed with anything else. warrior one wearing a shirt to demonstrate more maturity and which would reflect his mental status towards the other characters and the other wearing a sweat shirt suggesting that he not that interested in dressing up for the other character which would suggest hostility to an audience. In comparison southpaw the little girl wearing the same clothes as the past few times he has seen her showing that she only has those cloths to wear. Additionally in southpaw half way through the meeting with the daughter the dad notices the daughter isn’t wearing glasses anymore and when asked why she responds with ‘there not cool’. Through this small piece of costume the film maker can establish the show don’t tell rule in which again the characters mental state is being shown, it is suggested in the film that she is being abused by the other children that her glasses are not cool, and this also creates a waking up moment for the dad when he realizes he has a lot more in common with her when we first thought.

Setting- where the characters are placed provides an insight into what is being demonstrated on screen for and audience. For example when the scene In warrior on the beach could be a mutual meeting point maybe they went to the beach together as children, that setting has been specifically chosen to relate to the diegesis of the film which means the characters have some sort of relationship to the place and is not just picked at random. The message that may be trying to be conveyed is that that they are trying to way away the past and make a new or maybe it’s that they the rocks are too big to get over. The message in south paw through the setting is that he keeps getting reminded of his mistakes and the mistake he made is letting his anger get the better of him and his wife dying meaning the, consequence he has to keep coming back to is the fact he has put his daughter in the care of social services which is always the meeting place of the two characters.

 In Conclusion- there are mainly similarities in my two chosen films because they are in the same genre and have similar obstacles they need to overcome to archive there goal. Both films protagonists have struggles relating to my macro question. The most effective features used is the editing simply because everything is edited in a way through the directors eyes meaning they can show these messages to the audience and really make them see it. My personal favourite part of the film south paw is when the mother is dyeing simply because it is enrooted deep in family emotion that is pulls out all of the conventions and genre. There is a similarity with the independent and holly wood films meaning they both can do a good job at making the film with very different budgets. The target audience for these films is primarily teenage boys and this is because they are coming of age and maybe breaking away from their own family and need these films to remind them what is most important and the way these films do this is appealing to the testosterone driven men who like fighting and punching, the secondary audience is more middle aged people who like fighting and have families similar to the ones shown in the films. The reasons for these similarities and differences is because they are both set in America and it also shows the side of sport that people don’t really see the fact that these players/fighters are real people with real problems and struggles instead of using them for pawns in a big game this is a conscious decision by the director to demonstrate this hypothetical world we might be heading to. The thing that allows this is the hybrid genre of sport drama combine two different genres and making something worthy to watch. This then inspires others to create some other hybrid film making and inspiration to the others.