#WHY DID I WRITE LAUDNA INSTEAD OF IMOGEN

[utilitycaster]

but you do have to admit that you write your 2k meta's mostly because you want (negative) attention? otherwise I don't understand why you are not writing more of your faves instead?

Sure! I can explain why I wrote this piece, which I assume is the reason you're asking this now.

I wrote it because I naturally had thoughts about the group dynamics of Bells Hells after the episode and started thinking about why this group is so disconnected this far into the campaign when, for example, the Mighty Nein, who had far more friction and conflict early on in the campaign, were positively ride or die by this point. I also really did genuinely find the degree of pressure that Imogen and Laudna have been putting on Fearne to be excessive and had been quietly thinking about it since episode 75 - they were the ones to initially make a big deal about "Emperor and Empress" (the fact that Ashton mentioned the party's positive reinforcement of the shard's retrieval being a factor in their choice is relevant here), I was reminded by someone else regarding Laudna's immediate shutdown of Fearne's attempt to tell the truth in episode 77, and then they called her out in front of everyone after she had expressed that she didn't want it to Morri. It made a clear pattern that I felt was interesting to explore, and in doing so I started asking myself if there were other patterns of behavior. I linked to someone else's post as well in there that talked about how Imogen and Laudna pretty much always act together in group discussions in my post because that was also an inspiration, and I've also talked a lot in the past about how Imogen and Laudna rarely bring up their own sources of conflict with each other, so the fact that their accusations towards Fearne are in the same scene where Imogen expresses disgust about Delilah's presence also is very relevant to their general group dynamics, since their own relationship with each other is very central to how they interact with the group.

I do write about my favorite characters as well. I wrote pretty extensively about Ashton after episode 78, as well as a bit about their conversation with Orym, but Ashton just had their big moment of explosion and I need to let that simmer or something else to happen before I have any longer posts. I've also, if not written anything myself, reblogged a lot of great posts about Chetney's fantastic reveal which I think tied up that whole exercise beautifully with a truth that was not a passive-aggressive accusation of others nor a self-flagellation but a realization of his own behaviors as well as an explanation to the group without expecting anything in return. In talking about the shard I did touch on my main feelings about Fearne in this situation but again I think I need to see how she actually reacts to the information she received here to actually have meta of substance, rather than "oh, interesting." And you can go through my archives if you'd like to see more; I'm usually pretty good about tagging by character.

But also: I like writing criticism, specifically. It is fun for me. I find that writing helps me arrange my ideas and understand them better, and sometimes I even change my opinion when I revisit the text or find my argument doesn't hold together on an intellectual level, even if I feel something emotionally. I've changed my mind about characters before through writing meta! Sometimes more positively, sometimes more negatively, but it happens, because the act of writing meta, if you do so well, is an act of interrogating your own pre-existing opinions and making sure they make sense to people who aren't you.

I also think there's value in writing things that aren't universally positive. Again, it forces you to actually think through what isn't working for you or what you dislike or what traits characters have that you think are causing problems for people around them rather than just saying UGH THIS SUCKS. But also, writing up how you'd fix a plot you don't like or how you'd resolve a conflict requires you have empathy for the creators or for the characters. Sometimes, even if a piece isn't, in your opinion, good, writing criticism of it helps you understand why a creator may have made that choice you didn't like. You can disagree or dislike something while still respecting it, and making yourself explain it to other people is a really good way to process your own feelings rather than stewing in them. I find people who never express any negativity openly are often deeply resentful and unpleasant and passive-aggressive. Indeed, that's arguably the whole point of that honesty exercise! This party keeps trying to smooth things over and so a lot of valid concerns or complaints they have about each other have since metastasized into something far more hurtful.

I can't speak for everyone, but a lot of meta writers write meta because it's genuinely a fun hobby for them. When I was writing my piece about Dimension 20's genre experiments I stayed up later than I should have several times because it was interesting and I wanted to make sure I didn't forget how I was planning out the piece. I like writing a lot, and I've always preferred to write essays and criticism to fiction - I like to think I have a knack for the former that doesn't come as naturally for the latter. My brain jumps to analysis more easily than the invention of plot.

If you don't like the things I chose to write about, that's completely valid. But I'm not doing it for negative attention. I'm doing it because it's enjoyable for me. How you respond to it and how it makes you, specifically, feel, doesn't enter into my consideration. It's 2k words because that's how long it took me to say what I was thinking and it's about Imogen and Laudna's effect on the group dynamic as I understand it because that's what I was thinking about since it was very present in this episode, and I wrote it because I like writing.

Hopefully that explains it!

[lespetitesmortsde]

For library and/or orchestra au

2, 5, 10, 11, 19, 26

2. What program did you use to write this fic (Word, Google Docs, etc)?

I use Google Docs, for better or worse. Although I have been looking at Obsidian and such. But. I'm a basic bitch.

5. Where did you write this fic? Is that your favourite spot to write?

I write a variety of places. I generally write symphony AU at my desk with dual monitors because I do a bunch of research while I go. Library AU is more forgiving because a lot of it is just pulled from my life. Sometimes I write on my laptop in bed, sometimes at the kitchen table, sometimes at the library, sometimes at my in-laws, sometimes outside. Wherever I can get a minute with my computer. On occasion I've even written on my phone although I hate it.

10. Share a screenshot of the original outline (if you dareee)

... alright, see attached.

Library AU:

Symphony AU:

11. Was there a scene that you hadn't originally planned to include? Why did you decide to fit it in?

Library AU: already answered in another ask.

Symphony AU: this one has more structure than library AU simply because of the nonlinearity of the narrative that I'm writing as I go. However, I didn't originally plan for Imogen in this latest chapter (4) to have a little parklet spot. But we found it together and I loved that for her so of course she got to keep it.

19. Is this one of your personal favourite fics? Why or why not?

Library AU: Yes. It's my most ardent love letter to Imogen and Laudna, to trauma and hurt and the eternal struggle of trying to be good when it is instead so easy to be bad, to be consumed by pain and the darkest parts of yourself. Like Laudna and the library, I've poured so much of myself into it, which, if you know anything about me, you know is probably support for why it wouldn't be my favourite, but I'm growing as a person just like these two chucklefucks are. And while none of us may be where we want to end up one day, we're still here. We're still trying.

Symphony AU: Also yes. This exploration of music and loneliness and being alone in a crowd, making your own family, making your own worth, learning how to rely on others, to let others help you... it's so very close to my heart. Laudna's mind sounded like music and I took that literally, I took that as she's a composer and she works through her life not so much with crafts, but still with her hands, still creating something where not everyone can.

26. Wild card! I'll tell you a fun fact about this fic!

Library AU: The Imogen and Dusk office scenes were split from one scene I had fully written out that I was gonna slot into, like, chapter four, but I held onto them instead.

Symphony AU: Unlike everything else I've written, this fic wasn't a pain to title and all the chapters I've got planned so far are titled as well. Magic.

Thanks for asking, Anon!

More fanfic questions? Feel free to ask!

[its-mekjt]

Favourite parts of 3×96 (potential spoilers below the break)

in this episode of critical role, i was joined by bairn (my highland cow stuffed teddy), a bottle of water, an attempt at psychology revision (which failed), a few malted milk biscuits and a sense of impending doom because i agreed to work 12 to 10 tomorrow.

PART ONE

▪︎ this is caleb widogast in an alternate universe btw

▪︎ WHAT LITTLE COTTAGE. WHAT DO YOU MEAN.

▪︎ laura just pulling out a box of tissues.

▪︎ dorian just finding out about the lesbians

▪︎ "fearne and i had a threesome-" // "excuse me?"

▪︎ YES, LAUDNA IS POWERFUL WITHOUT HER, AND IT MAKES ME SOB THAT SHE THINKS SHE ISN'T.

▪︎ fearne loml. she can do no wrong. she's here for EVERYONE. SHE LOVES THEM ALL.

▪︎ "normally, i avert my gaze by looking down, but he's under me." (looks at ceiling instead).

▪︎ travis just slapping marisha and immediately thinking he's hurt her. CSCKLUNG.

▪︎ ah yes. the sibling life. beating the SHIT out of one another. (me and my sister did this bit she got taller than me, and i forgot my own strength, so we were forced to stop)

▪︎ i need the laura bailey vs delilah briarwood one shot.

▪︎ CHETNEY IS ME.

▪︎ bells bells plays spin the bottle when

▪︎ imogen and laudna NOOOO.

▪︎ ashton and fearne YESSSSS.

▪︎ BERTRANDS BLADE. i'm SOBBING.

▪︎ dorian is committed to the aesthetic (the blue)

▪︎ "it's like pulp in my orange juice, get it the fuck out." i'm using that.

▪︎ SUIT UP MONTAGE LETS GO.

▪︎ me looking at dorian's new fit: since when did this become a WHORE HOUSE

▪︎ fearne and ashton's fabric swap

▪︎ they're all going to freeze, but they're all going to look great doing it

▪︎ 'seth' is a bitch about timetables

▪︎ OH GOD HE'S BEHIND THE DOOR

▪︎ dorian blew them up

▪︎ why do i think gelidon is about to appear

▪︎ orym made them go near tal'dorei

▪︎ at least they're in eiselcross now.

PART TWO

▪︎ everybody FUCKING RUN

▪︎ essek swearing

▪︎ "stop fucking floating and lie down essek." fjord stone has entered the chat.

▪︎ guidance, it's nice to have.

▪︎ ESSEK USING ONE OF CALEB'S SPELLS. AWWWWW.

▪︎ of course essek has a face mask.

▪︎ ashton cannot climb trees. too buff.

▪︎ panocy top.

▪︎ JESUS CHRIST +12 TO STEALTH? (also matt's face)

▪︎ what the fuck is happening in aeor

▪︎ oh! bones!

▪︎ OH MY GOD THE TOMB TAKERS

▪︎ essek was a salmon. caleb had to carry him.

▪︎ GRIM PSYCHOMETRY (morbid geometry) ON THE DOME WOOOO

▪︎ creepy slow moving skeleton

▪︎ THEY'RE SINGING THAT SONG (https://youtu.be/ZjlYFWLUDBQ?si=jJlkyaksau0pcsmt)

▪︎ essek is a nursery teacher dealing with a group of children who won't stop touching everything

▪︎ arcane eye let's go

▪︎ who killed those vanguard members?

▪︎ peeking into that tent, then popping out like: nah, i don't need that seered into my mind

▪︎ a fight between them? oh. mind control?

▪︎ oh my giddy aunt, what the hell happened here?

▪︎ well. that's a violent way to go. love it.

▪︎ 🎶asmodeus🎶

▪︎ CHESTY MCCARVEY

▪︎ "there's a faint grinding sound-" // "son of a bitch."

▪︎ the witches + ashton

▪︎ NATURAL 1

▪︎ NOTHING NEEDS TO BE THAT TALL

▪︎ it's giving pale man from pan's labyrinth (oh my god, i have to write a 40 mark essay on pan's labyrinth and city of god in my film exam)

▪︎ MAW.

▪︎ SOMETHING CRAWLING OUT OF IT? FUCK OFF.

▪︎ robbie and taliesin are so hyped for this.

▪︎ two weeks of emotional damage, a week of physical damage.

▪︎ MY LORD THAT MAP IS GORGEOUS

there's a week long break, so there won't be one of these next friday/saturday. see y'all in a couple weeks!

[the-caleb-widogast]

i just imagine whenever imogen rolls low for looking through the library for information it's not because it's her fault but rather because there's two humans, one with ginger hair and one with dark brown hair, who are also furiously researching and she can't find what she's looking for becuase they might have it.

"caleb. caleb, look at this. more shit about the fucking moons that apparently need to be dealt with. add this to the list of books we're paying to make a copy off and be shipped to the soul."

"alright. you know we wouldn't have need to come here had we paid more attention to your fellow archive member who was very interested in the moons as well."

"well when he was talking about it it sounded so fucking boring and we were dealing with a lot of shit that we couldn't really have given him any time anyways. and now he's mia and now we have to try and find him or his stupid research."

"yah that is unfortunate. has jester responded back if any of her sendings had reached mr sunlash?"

"nah she's been sending to him at least once a day but no response. some of jester's message are pretty fucking creepy though so i'd get why he might not respond. hey do you think if just we hit up the moonweaver she'll give us the answer?"

"considering we were part of the attempt of trying to pass off artagan's cult to her, i don't presume she'll respond kindly to us. and you forget neither of us are godly people beauregard"

"that's fair. do you think if jester spoke with artagan she might get him to tell her.

"..."

"yeah cad would probably have more luck with the wildmother. anyways add this to the list and i'll go look for more books."

"sure. can we add this too? i've skimmed it but it speaks about a type of magic that is unknown to wildemount and we might benefit from learning more about it."

"sure yeah. add it to the list. i love having fucking magic shit that the cerberus doesn't know about and we can lord it over them."

[unicyclehippo]

ok hello i am writing the SHORTEST little conversations for critical role again i am trying to write again ur welcome. anyway i call this one “i’m gay for hot mean women” feat. laudna & delilah

Laudna watched the closeness between Imogen and Fresh and felt something terrible rise in her gut. 

 ‘She’s leaving you behind.’ 

 Laudna hissed at the intruder. No one appeared to have noticed the incursion—no, there, Orym looking back. She waved cheerily, which seemed to soothe his concern. When his eyes refocused forward, Laudna let Snail fall a little behind the group. Drew the hood of her cloak up and over her head. 

‘What do you want?’ 

‘You’ve been chatty,’ Delilah murmured. ‘I wanted to remind you of our arrangement, dear. Not to say anything…untoward.’ 

‘I haven’t.’ 

Delilah hummed. Laudna could feel her, poking about in her mind; cold fingers dragged over memories, plucked them like books from shelves of her mind. She regarded Orym—Delilah the Orym of her memory, Laudna the tense shoulders of her friend riding in the rain—and clicked her tongue. ‘You should count yourself lucky, by the way.’ Humour twined a chilling tendril through her tone. Nothing amused Delilah quite like a joke at someone else’s expense. Better, someone else’s demise. ‘After all, not everyone gets such a generous last meal.’ 

Laudna tilted her head, smacked it hard in an effort to dislodge Delilah but she stayed. Bitch. With a disappointed sniff, and a crack of bone as she corrected the angle of her head, Laudna said, ‘The potatoes were undercooked.’ 

Delilah laughed, throaty and rich. To Laudna’s dismay, she heard herself laugh the same way. 

On the road ahead, Imogen turned back.

‘Don’t worry. I’m sure the staff paid for that misstep in full. You could say they had a taste of my husbands displeasure.’ 

Laudna gagged. A vampire joke? Tacky. ‘You’re really not as funny as you think you are.’ 

‘And you are really too disrespectful for someone who owes me their life,’ she hissed. Quick as a striking snake, she shifted back to that arch tone, all dark humour and the rising pleasure that came from causing pain. Laudna braced. After all, she was the only one present. ‘In fact, I think you should thank me.’ 

Laudna growled, deep in her throat. ‘No.’ 

Delilah spoke again, with none of the gentleness of a joke. ‘I said,’ she hissed, and took Laudna’s heart in the palm of her hand. Strung her nerves around cold fingers. ‘Thank me.’ 

Laudna shivered. Twitched. She fought it but how to fight? They shared a mind, a body. She was fighting only herself. Her jaw moved under Delilah’s direction. ‘Thank you.’ 

‘Thank you, my Lady.’ 

A grey hall. A fine dinner. Her parents, her future, her life. Ended for a warning. A joke. A treat, a trick, meant to disturb. Lives ended on a whim. 

‘Thank you,’ Laudna rasped. ‘My Lady.’ 

It did not seem to bother Delilah that the words were hollow, mechanical. That she was making Laudna speak them. Perhaps that was because she could feel Laudna’s rising horror, feel the way she struggled against the strings like a rat in a trap, as it occurred to her what else Delilah could make her do. Delilah loosed the strings. Laudna fell - arms, ungainly, back to the reins; head, dropped, chin to chest. She held herself very still against the urge to shiver, tremble. 

Cold fingers stroked the back of her neck, as one would scratch at the neck of a faithful hound. ‘There. Good girl. Don’t make me warn you again, please.’

Laudna expected Delilah to leave, her point well and truly made. But instead, she lingered. 

‘I lied before. About why I’m here. I thought we could have a little chat, dead woman to dead woman, about the future. What you can do for me. What we can do for each other.’

‘I don’t want anything from you.’

‘We both know that isn’t true. Why, only the other night, talking about your past, you seemed so...ill at ease. There’s so much you don’t know. About yourself, about these powers I’ve granted you.’

‘I know enough.’

‘How could you possibly? The fact is you don’t know anything! You admitted it! Those troublesome little blank spots. Holes in your memory? You don’t know what happened between my guards taking you to the dungeon and waking up on that tree and that worries you, doesn’t it? It’s like -’ Delilah hummed thoughtfully. Stroked the shell of her ear. Despite the cuff, Laudna felt the touch on skin and scar. ‘It’s like a piece of you is missing,’ she murmured. ‘But you have an inkling, don’t you? Memories don’t go missing for no reason. You want to know what could possibly have been so bad that you remember all those other terrible things but not that. You want to know what else I did to you. You’ve been thinking about it a lot, ever since your dear heart came back from the library. What’s the word she used? Ah yes. Experiments.’

‘I don’t believe you!’ Laudna snapped. There was no doubt she was talking loud enough to draw attention, enough for the others to hear and witness, but her surroundings were just blackness as she closed her eyes tight, attention drawn ever inwards. 

‘Believe me? Darling, these are your thoughts, not mine.’

‘That’s not true. You’re lying again -’

‘You haven’t gone nearly mad enough to make me up in that broken head of yours and you know it. Besides, your girl would be able to hear me if I were another one of your voices, wouldn’t she?’

That was a question that had confounded them both. Two years they had wandered, searching for explanations, and had found nothing. It was something that unsettled Laudna as much as it frustrated Imogen. 

‘She’s an interesting one, your girl. Being able to peel open minds like that... I can see why she would interest you. At first you hoped she could answer your questions. And then you fell in love. It happens to the best of us,’ Delilah said, tone inviting her to laugh alone. Laudna didn’t. She felt paralysed, pain and fear coursing through her. Delilah sighed. ‘Oh dear. I’ve overwhelmed you. You must be so confused,’ she cooed. Curled a string of Laudna’s hair about her finger and tugged, sharp, sending a painful twinge through to her scalp. ‘All those questions you must have. What happened to me?’ she asked in a trembling mockery of Laudna. ‘What have I become? What did you do to me? Why am I like this?’ Delilah paused. The air grew cold, still. When she continued, her voice was a coiling hiss, wrapping itself around her. Her promises, another noose for Laudna’s neck. ‘How do I make it sstop?’

Laudna swallowed. An old curiosity, that question. Passing. One that she had not shared with Imogen. 

‘I can answer all your questions, darling. You need only ask.’

The thought of Imogen sent a flash of lightning through her brain, a jolt - enough to cut through the numb cold. ‘And you’ll share your knowledge for free, of course.’

Delilah laughed. 'No, of course not. Not when I know you could beg me for it and make any kind of promise I'd like.' 

'That won't happen.' 

'Are you so certain?' Delilah asked. Cold fingers touched to Laudna's chin, turned her to face and focus on Imogen--so worried, so close. 'I can help you, Laudna. I can answer all your questions. Grant you powers beyond your wildest dreams. Grant you forgotten knowledge to help your girl. You may not believe me, darling, but I'd rather help you than hurt you. But if you won't ask, and if you won't help me, if you struggle too hard, if you try to fight me,' she said with a dangerous snarl, 'well. Hurting you won't be a problem.'

[samuraiko]

Could you write a conversation between fearne orym and laudna after she gets revived? They can all joke about being the group zombies

I kept changing my mind about how I wanted to to do this one, especially because for a while, I was tempted to not do it at all because I wanted to give people time to process their feelings about everything. But... hopefully you like it.

"Welcome Back"

It's late at night, the Hells are asleep, or most of them anyway. But three are awake, sitting on the balcony of their room at the tavern, a bottle between them, looking up at the sky.

They sit close, almost on top of each other. It's a closeness they've missed, a closeness they've craved for so long, a closeness they savour for it being so hard-won.

"We've missed you," Fearne says softly as she drinks from the bottle, then passes it to Orym. "And I'm sorry it took us so long."

Laudna waves one pale hand dismissively and shrugs. "All that matters is that in the end, I'm back. We're back." Her eyes move from Fearne to Orym and back. "To be honest... when I first opened my eyes again, I was afraid of what I'd find." Briefly, her eyes harden and darken, despite the moonlight. "Afraid of what that bitch had done."

Orym sips quietly, idly turning the bottle around and around in his small hands. "Yeah. It was... hard. For all of us. I think for Fearne the most."

Fearne sniffles and looks away in shame, but Laudna drapes one thin arm around the faun's shoulders and pulls her in closer.

"Now, now, none of that. All that is water under the bridge." Then Laudna pauses. "What does that mean, exactly? Which bridge? And why does it matter whether the water's passed under it?"

"I think it's a metaphor," Orym replies.

"A meta for what?" Fearne asks in confusion.

"No, a metaphor."

"For WHAT?"

"Never mind, Fearne." Orym drinks again, then hands the bottle to Laudna.

For a while, they are quiet, gazing up at the moon, then softly, Fearne asks the question that she has been dreading the answer to.

"What... was it like for you? While you were dead?"

Laudna frowns, then sighs.

"Honestly, it feels like a dream now. A sense of... drifting. An in-between-ness. And... voices. Coming and going, rising and falling, some familiar, some not. I wasn't afraid, not really. At least not for myself. I was worried sick about Imogen, though."

"But... no icky green moon, no weird eyes staring at you, no disgusting tethers trying to drag you into oblivion?" Fearne stares at Laudna with wide eyes.

"Goodness, no. That sounds absolutely dreadful."

"Oh."

"Why?"

Fearne shrugs matter-of-factly. "That's what it was like for me while I was dead." Then the momentary bravado crumbles and her expression crumples into a mix of pain, relief, and guilt. "And I was so afraid that's what I'd left you stuck in when I revived Orym instead of you."

"No, no, no, nothing like that, I promise." Laudna pats Fearne's pale blonde curls reassuringly. Then, after a pause, she looks over at Orym, who is staring longingly up at Catha.

"And... you, Orym. When you were... when you were dead... did you... see..." Her voice trails off, but she sees the tears that well up in Orym's moss-green eyes, and she has her answer. She turns to him and gathers him close as he has done to her in the past, and for a moment, Orym just closes his eyes and lets himself be held.

"I'm so sorry."

He nods, not trusting himself just yet to speak.

"But now we're all together again. That's the most important thing."

"Yeah." Fearne sighs as Orym sits up straight once more. "We really did miss you. In fact, I think Ashton missed you almost as much as Imogen did."

"Really?"

"Really."

Laudna smiles briefly, a wistful, grateful smile. "I'm glad." Then she takes hold of Fearne and Orym's hands. "And I'm glad you're both back, too."

They hold each other's hands tightly, and lean in close to one another. Then finally, they let go, and Orym picks up the bottle once more.

Fearne deliberately waits until he's lifted the bottle to his lips, then turns to Laudna and says, "Now that you're back, we can go kill the Changebringer."

And Orym spews half the contents of the bottle off the edge of the balcony while Laudna stares wide-eyed at Fearne, then claps her hands delightedly.

"Sounds like FUN!"

[utilitycaster]

Apologies this is a bit of a rant: I’m gonna be honest. A part of me hopes Imogen and Laudna aren’t romantically involved just to piss the shippers off, because I don’t like how the second the both of them appeared on screen (some) of the audience was like “THEIR GIRLFRIENDS!!” and immediately started the shipping. And I saw some comments earlier on and a couple days ago saying that “Marisha and Laura’s chemistry was wasted potential in c1 and c2.” And “let them romance each other cowards!” Just rubs me the wrong way I guess. You know what I mean?

So I'll answer this rant but I think I'm going to remove others not because I disagree but because I think the following is really important: this ask and many others are talking about a loud group, but that loud group is clearly not the entire fandom, and instead of sending anon rants through me, I highly encourage making your own posts. You don't have to say "this sucks and you guys suck" even if you feel it; I get not wanting to be negative on main, but the fact is, if you're mad about what the fandom does venting is great but contributing to it with the kind of posts you want to see is better! Write posts about how Imogen is a fully realized person! Write posts about how Jester is a fully realized person! Write posts in support of other ships you find more interesting, or your desire to see Imogen and Laudna move apart at least for a while! Make art of Imogen without Laudna and without glasses and there is a very real chance I will reblog it. Make art of Laudna hanging out with other party members. Talk about how interesting their conflict is and how you hope they both grow and change from it as individuals. Give the notes and likes and posts to what you would rather see from the fandom.

Part of why I've gone for the spiked bat very early is because I made this post just before C3 and after doing so I was like. oh. I could have made this during C2 and faced relatively manageable consequences, honestly, and maybe some people might have gotten embarrassed and stopped. Don't wait and resent the people who are being annoying. Tell them now, and then talk about what you want to talk about.

Okay on to the original question though which is like...honestly I am torn. Do I think that people who seem to think that Marisha and Laura's characters must end up together with no consideration of who those characters are should shut up and get lost at sea? Yes. Do I think that the idea that some nebulous force (or perhaps a real one) is preventing Laura and Marisha's characters from becoming romantically involved rather than choices specifically made by Laura and Marisha is wildly fucked up and nonsensical and people who claim this should fall for a devastating phishing scam? Yes. Do I think that Imogen and Laudna could potentially be a really enjoyable couple after a lot of growth and conflict? Yes.

The "spite" and the "narrative sense" parts of my brain are in a little conflict here, because I have to admit it would be really funny if this did not happen after people had been claiming it would from quite literally the first scene of the campaign, but also it's not a bad ship onscreen; it's just that some of the people who ship it are utterly insufferable. I do try to ship things based on what actually seems reasonable for both those characters based on the story though and not just out of spite, fun as that may be.