#When all you want from the game is to create characters

[captain-ashby]

All of this and more. I loved this game a lot, it had many strengths, and for me it stands next to the others in the series, if an inch or two lower. However this IS the heart of most of the problems with this game: the writers refused to allow conflict except with the antaam, the venatori, and the elven gods.

All the previous dragon age and mass effect games revolved around the fact that even the world's/galaxy's saviors are people who had one goal: save the world/galaxy, no matter how broken it is and how much you are hated. The HoF fought simultaneously against and for a nation that believed wholeheartedly that they were traitors. Hawke and his family/companions are made up of people that are considered the scum of the world. The Inquistor is wrongly persecuted as a heretic and has to fight against overwhelming religious and political pushback. Shephard CONSTANTLY is treated as little more than nuisance until the galaxy ending threat has already started, despite being one of the most decorated soldiers in the galaxy.

On top of this, their companions are a constant source of conflict. Tali/Legion, Jack/Miranda, Alistair/Morrigain, the entire da2 team, Solas/Sera, Dorian/Bull. Almost all the companions have centuries old prejudice baked into them, and more often than not they are willing to betray you and each other for their own goals. Where all of these games shine is leaning into that, working through the conflicts, and resolving them in ways that are satisfying.

Rook and his team face almost no pushback. Lucanis is a murderer and an abomination. Taash is Qunari, who are by and large considered zealous and violent conquerors. Davrin and Bellara have just had their gods almost destroy the world, and elves are almost always second-class citizens. Necromancy is not just accepted by the rest of the Thedas as just another school of magic.

In fact, mages in general no longer face any of the persecution they used to, despite the fact that Elgar'Nan, Ghilan'Nain and Solas are the most powerful mages to ever live and are responsible for almost all the major ills of the world. All of this isn't because the Veilguard has proven to the world that their prejudices are wrong, it is just... not addressed. Ignored. Rook is respected by everyone bar the comical villains (even then The Butcher respects you with no effort on the players part), with the exception of the people of the city Rook didn't personally go fight a high dragon for because they were busy fighting another one elsewhere.

And there's the crux. Theres no proving that you are the one in the right, or that there's a bigger evil to focus on. No political maneuvering. Theres not even really any conflict resolved outside of killing Venatori, Antaam, and darkspawn, all of whom are outcasts from any real society and as such have no real ramifications to being destroyed. The other BioWare heroes succeeded despite the world they were saving not wanting them, Rook succeeds because everyone puts their entire faith into one person.

Again, I enjoyed this game very much. But it forgets that "fighting against impossible odds" doesnt just mean mortal against deity, but also nation against nation, race against race, and ally against ally. Everyone in Veilguard comes across as a good person in need of a little therapy, when bioware as a whole thrives on stories about inherently flawed and tragic characters rallying together to do what MUST be done to save an ultimately ungrateful people.

TLDR: One line from the Inquisitor in Trespasser perfectly sums up the inherent frustration that permeates all other bioware games to create compelling stories, which I believe is the missing thread from Veilguard: "Dammit! We save Ferelden, and they're angry. We save Orlais, and they're angry. We close the Breach twice, and my own hand wants to kill me. Could one thing in this fucking world just stay fixed?!"

Why Fenris could Never Cameo in Dragon Age: The Veilguard

In the run up to Dragon age: The Veilguard, I was almost certain that Fenris would be our main legacy character from previous games. Not only has he been central in the comics released between DAI and DATV, he is an escaped Tevinter slave who's plot revolved around magisters, magic and the structural prejudices surrounding elves in Thedas. Not only that, but he's canonically in Tevinter killing slavers currently so he's geographically in the right place for us to meet him.

About halfway through the game though, it was clear to me: Fenris could never cameo in The Veilguard. Because he'd break it.

How the Veilguard treats Thedas is...odd to me, to say the least. I will be writing another post about how much I adored the expanded big lore in this game (the titans, ancient elves were spirits, where the blight came from etc.) and yet while these large lore expansions worked for me, the actual culture of modern Thedas is entirely softened, its sharp edges filed down until it's a sanitised fantasy world devoid of what made the franchise so vibrant and compelling in the first place.

So let's start with Fenris and slavery. In all three games, the reality of slavery is pushing at the corners of the world. In DAO Loghain allows Tevinter Magisters to enslave elves in order to raise money for his war effort. In DA2 Fenris is fighting to be free from slavers who will not leave him be, let alone the reminders that the city was built by slaves which are everywhere. In DAI one of the two possible mini-bosses is Calpurnia who was a slave, and characters such as Gatt and Dorian both show us how much slavery is tied into Tevinters culture and success.

But DATV the first game actually set in Tevinter where we get to see the famed Minrathous...it's like the game purposefully wants to avoid the issue. I can feel it tilting the camera away to not allow me to see. Slavery is mentioned, but never talked about in depth or as a specifically ELVEN problem in Tevinter. This might have been done to be less problematic, it feels ignored.

We are in DOCK TOWN. We are at the DOCKS. You would think that slaves from all over Thedas who are being smuggled and bought by various groups would be everywhere. You would think that the injustice in dock town would be partly built on the back of ships we've seen in the comics crammed with elves in chains. This is the world Dragon age set up for us. And yet...nothing. zilch. A tiny easily skippable side quest where we free a couple of venatori slaves, but only one of whom is an elf.

None of our Tevinter characters seem to have been influenced by their culture even a little bit when it comes to how they view elves; there is no moment when Neve fucks up and says something prejudiced, no moment when Bellara or Davrin are distrustful of her for being a Tevinter mage.

The same goes for Zevran; a character who epitomised the issues with the crows. The crows have consistently been characterised as very morally dubious assassins who kill for the highest bidder and who buy children on the slave market and torture them as they grow in order to assure that they reach maturity able to withstand torture without giving away a client's name. Zevran is very explicit about the fact that if you fail a contract your life is forefit.

Nobody responds particularly to you if you're an elf. Nobody trusts rook less for it in Tevinter. Nobody treats Rook any differently. Even DAI had better mechanics for this; with nobles in Orlais less likely to trust you as an elf.

Considering one of the main plot points of this game and what makes Solas sympathetic is the fact that he was fighting against the slavery of ancient elves...you'd think the game might want to mirror that in modern Thedas. It might want to show us how characters fighting to end slavery in Tevinter are similar to Solas and how the society Solas fought against was similar to the one that characters we love such as Fenris have fought against in modern Thedas. Maybe we'd want to explore how in a world of slavery like this, how could the answer NOT be to tear it all down? Maybe we should have that option at the end of the game so it really can chose whether we agree with Solas and his plans or not.

Adding Fenris to this game would entirely break the game because Fenris refuses to allow you to look away from this horror. He is a sympathetic character who had to learn to trust mages again because of course he didn't trust them. Of course he didn't. Fenris wouldn't allow the camera to shift focus because he's literally covered in the lyrium scars that show how slaves are used as experiments in Tevinter. Fenris WOULD question Neve on how she feels about elves and slaves. Fenris WOULD have things to say about Lucanis and the crows (let alone the fact Lucanis is an abomonation). So he could never be in this game; he'd drop a bomb on it's carefully constructed blinders to the very society its supposed to be set in.

And yet, in DATV, the crows are presented as...a found family of misfits and orphans? The politician who opposes the crows having absolute power in Antiva is framed as a comically evil idiot who doesn't understand that the crows are ontologically good. Yet...they're NOT. Crows in this game act more like a secret rebel group than an assassin organisation. We see no crow taking contracts with the VERY RICH venatori magisters despite being hired killers. We see crows just refuse to kill people despite having a contract because 'its crueler to leave them alive'. The crows don't feel like the crows here, they feel like a softened version of a cool assassin group who are cool because they wear black and purple.

Our pirate group are also sanitised; the Lords of Fortune are good pirates who only steal treasure that's not culturally significant. Theyve clearly read the modern critiques of the British Museum and have decided to explicitly stop anyone levelling similar critiques at them. There is no faction of the Lords of Fortune who aren't like this, no internal arguments about it. Everyone just. Agrees. And is able to accurately tell what a cultural artifact is vs. what treasure that you can have yourself is. Rather than showing us why a pirate stealing cultural artifacts might be bad (like in da2 where such a situation literally causes a coup and a war) it just tells us it's bad. But also pirates are cool so we still want them in our world.

This issue seaps into Thedas and drains it of any of the interesting complexity and ability to SAY anything that this franchise had before this game. It becomes a game about telling and not showing rather than the other way around. The games have ALWAYS asked questions about oppressive structural systems and their interplay with society, religion and culture and how these things can affect even the most well meaning character. Dragon age at its best IS a game about society and how society functions both for and against it's characters and what happens to societies built on cruelty and indifference. The best bad guys dragon age has given us are those who are bad because they embody these systems or have been shaped by them. Our main characters have had to wrestle with questions surrounding how to exist in these systems, fight against them, learn and grow.

Yet every group you come across in DATV is sanitised and cleaned up to the point of being as non problematic as humanly possible. None of our cast of characters have to wrestle with where they came from or the world that shaped them. None of them have to confront their own biases. They start the game perfectly non-problematic and end it that way too.

And this just...isn't what Dragon Age has been in the past. It isn't why I love the franchise. The whole game just felt, in a way, hollow. And this was a CHOICE and it is why the legacy characters are few and far between. Too many dragon age characters are just too...angry and complex for this game. You can feel them pulling their punches on this one. I have to imagine they did this because they didn't want to be criticised or have too much controversy? But I think it honestly goes far too much in the other direction and just makes it bland.

I can't imagine what I say here will be unique, but it is the basis for a LOT of my other thoughts on this game so I wanted to get it out of the way first. The softened Thedas and characters make this game by far the weakest in the franchise.

[felassan]

David Gaider on Fenris, under a cut for length:

"Fenris. Now, DA2 is a story all on its own but I'm not going to go there other than to sum it up as "we had just over a year and a half to make this". It's why I only wrote one follower, Fenris, and although it'll make his fans mad: I probably shouldn't have. Let me explain. The way we'd approach making the followers is brainstorming a list of concepts covering first the array of gameplay classes (and sub-classes) and then making sure they each have some skin in the game when it came to the story's conflicts - ideally having characters on both sides of the major ones. Why? You can't make a player care about the world, but you can make them care about characters who care about the world. It's the easiest way to provide hooks into a conflict, outside of it knocking on the player's door. Heck, it's probably better than that. Players will burn the world for approval. After that, we'd decide things like romances/sexuality. Then the writers would pick who they'd write. I always let my writers pick first. I figured they do their best work when it's something they're inspired to write... and they got so few chances at ownership, I wanted to give it whenever I could It's why I (reluctantly) let Patrick wrest Cole from my grasp in DAI, a character I'd created in Asunder. It's also why I let Jennifer take Anders in DA2, who I'd started in Awakening. In this instance, it meant I was left with the angry elven warrior character who nobody else appeared to want."

"It should have been my first clue that something was up. The second was how the artists had zero clue what to do with him. The art concepts were all over the place - from mages to crows to... well, even weirder. No matter how hard I tried to explain the idea, the artists simply didn't seem to get it Does this mean he was a bad character? Not exactly. Just an idea that probably deserved some re-examining. You can tell when an idea has a certain spark, and part of that is being easy to communicate. Sadly, there wasn't time for any re-examining even if it'd occurred to me. And it didn't, not yet. If it had, if I had time, maybe I'd have re-booted him as a templar. Someone pro-templar rather than anti-mage, who could give a personal hook into Meredith and give the templars some badly-needed humanity. But this falls into the shoulda-woulda-coulda category. I had a follower to write. Quickly. I struggled, at first. It was hard to get away from "Fenris hates everything, all the time". It felt very one-note, and I didn't know where to take him. My third clue, I guess. I also wasn't sure if I was the right person to write a former slave. I did know that couldn't be the center of his story. I did know trauma, however. How it can eat you up. How the hate and resentment is like drinking poison and hoping the other person dies. How it can infect your relationships. Fenris's trauma isn't my trauma, obviously, but here I dipped into a more personal part of myself than I'd ever done before."

"It gave me the center of his story I was missing, but wow was it uncomfortable. In a good way, maybe. I likely wouldn't have, if I hadn't been so desperate. In a way, I think DA2 had some of our best writing *because* of the timeline. It was raw, with little time to sand down the interesting parts. I wouldn't have done the "Fenris doesn't talk to you for three years" thing if I'd known we were going to cut all the reactivity initially planned for the time jumps. When that call was made, I campaigned to cut the jumps to a year, but there was no time for the revisions it'd need. So, um. Awkward. I used to get asked where the name came from, and I... don't remember? Obviously it's derived from Fenrir, but I don't recall why we picked that. Someone pointed at Fenris the Feared from Joe Abercrombie's books... and I did read them, so maybe the name lodged in my head? Wouldn't be the first time. Casting Fenris turned out to be easy. He was the first time I requested a specific VA and got him. (The other times were Merrill and then Solas, my two "I want these specific Welsh actors, please".) Why? OK, if you must know, I'd played a bit of Final Fantasy XII. I heard Balthier. "Yes, that." 😅 And Gideon Emery was a delight, as it turned out. Consummate professional, and that lovely gravel in his voice... good god. Bite the knuckles. There was a struggle to find the voice at the outset where I did my best not to say "just pls do Balthier" but he found Fenris on his own and it was amazing. Overall, Fenris turned out better than he had any right to, considering the rocky start. He had a lot of soul, a vulnerability forged by pain that struck a chord with a lot of players, and I'm glad. Do I regret anything? Probably having him live in a corpse-filled mansion that would never update. That's a hindsight thing, though, as again the cut to reactivity over the time jumps came late. Outside of that, maybe letting the player give him back to Danarius? Poor shock value and a waste of resources because almost nobody took the option. Good evil options are ones that are tempting to take. And the lyrium tattoos. Interesting concept, but they're probably why you'll never see Fenris in a future DA. He requires a custom body, and the tattoos make that expensive. It's why I put Fenris in my 4th DA novel - the cancelled one. Don't fret, though. He died in it, so this way he lives on. 😉"

[source thread]

User: "Wait wait how does he die in [the cancelled novel]??" David Gaider: "Gloriously, after taking up a cause he didn't believe in at first but then made his own, one that allowed him to rediscover what it meant to be elven." [source] David Gaider: "I’m not sorry about the novel cancellation. I’m the one who cancelled it. I am kinda sad we couldn’t make it work, though. Considering it was after I left the DA team, it would have been my final DA hurrah." [source] David Gaider: "From my perspective, it was kind of "well if you're never going to use him again, let me at least give him a proper send off" and the story required a glorious death... but I get that's not the story his biggest fans would want (which is Hawke + Fenris 4ever), so it's just as well." [source]

User: "You all did some incredible work with such a tight deadline" David Gaider: "I'm of the opinion that even if we'd had only another six months to bake, DA2 would be remembered as a classic and not either a flawed gem or underbaked sequel, depending on who you ask." [source]

[ddarker-dreams]

lock's otome game recs

i received some asks indicating an interest in a compilation of my favorite otome games, so i decided to go for it!! i've played about fourteen otome games, but of those fourteen, only these six left a lasting impression on me. there are still some that i intend to check out, so the rankings may update in the future. i'll give a very general overview of each game and how i'd score the categories that i find the most important in an otome game — the heroine, story, art, enjoyability, along with the characters i liked the most.

number 6 - piofiore fated memories.

heroine: 6/10 story: 6.5/10 characters: 7/10 art: 10/10 enjoyability: 8/10 favorite characters: dante (ishikawa kaito), nicola (kimura ryouhei) and yang (okamoto nobuhiko)

this game centers around the heroine, with the default name liliana adornato, who finds herself entangled in the politics of the region's three most prominent crime organizations. the game has an italian backdrop and iirc, takes place in the 1930s.

the overarching narrative, while it has its fair share of intrigue, isn't the game's strongest point. it's the interactions with the characters themselves that made the game feel worthwhile. each love interest has more to them than what meets the eye, so it's satisfying to watch the relationship between them and the heroine develop.

the heroine takes a passive role throughout much of the game, events sorta just happen to her. still, she has a kind disposition that makes her likable and doesn't make stupid decisions that has you wanting to fling your console across the room. her characterization changes slightly depending on the route. for instance, without getting into spoilers, she's more assertive throughout yang's route. the resulting dynamic made yang's route the most memorable, even if he's my third favorite character from the bunch.

what feels unique to this game is the effort put into the bad endings. in most visual novels, bad endings can feel like gimmicks. you make one or two wrong decisions and you're rewarded with a few paragraphs. the downward spiral of the characters in the bad endings are decently fleshed out and you can see how they arrived at this 'worst' version of themselves. they're suitably dark and it shouldn't come as a surprise that i enjoyed them because of that 😭

then there's the art. it's stunning, the details in each CG are mindboggling. the heroine gets to wear a variety of pretty outfits which is something i like to see. even in the story's weaker moments, a stunning CG would pop up that had me forgiving everything. i still glance through the gallery to this day.

number five - cupid parasite.

heroine: 9.5/10 story: 7/10 characters: 7/10 art: 9/10 enjoyability: 9/10 favorite characters: ryuki keisaiin (junya enoki) & gill lovecraft (kimura ryouhei)

iconic. showstopping. a little bit camp.

cupid parasite stars one of my favorite heroines, lynette. she works as a bridal advisor whose ambition is to ensure everyone finds their soulmate. in actuality, she's the goddess cupid, who left her post in celestia to better understand humanity and create lasting pairs. she's a delight to play as.

this game's presentation and overall aesthetic is the most distinct from any otome game i've played. aside from the presentation, the story itself is unlike any of the others on this list. when it comes to romance, i typically prefer them to be dark and mature. this game opts for a more lighthearted approach. it vacillates between being a romcom and dipping into the absurdist genre. there were times i was literally left speechless (glances at gill's route)... but it makes for an entertaining experience. the game's plenty funny as well.

personally, i enjoyed the more grounded moments when the mythological elements remained in the background. because of this, the true ending doesn't do it for me as much as they do in other games. as with anything, this is a personal preference though. i liked all of the routes and found the game handles the development of each love interest well. we're introduced to these men at their most pathetic and get to help them become a little more well-adjusted. lowering the cringe meter, if you will. it makes their growth all the most satisfying as the narrative progresses.

number four - even if tempest.

heroine: 9/10 story: 8.5/10 characters: 8/10 art: 6/10 enjoyability: 9/10 favorite characters: the heroine herself, tyril i lister (noriaki sugiyama), crius castlerock (makoto furukawa) and lucien neuschburn (kaito ishikawa)

right from the get-go, this game's premise had me hooked. it features the heroine, anastasia (<3!), who leads an incredibly tragic life. she's bestowed the ability to reverse time following each of her deaths and uses this to unravel a mess of mysteries the world's setting is tangled in.

this game is absolutely anastasia's story. without spoiling anything, i loved the approach they took with the time rewinding ability. how it's incorporated is unique to an otome game, which they take full advantage of to amplify the tragic romances. on that note, the romance itself occasionally takes a backseat to the narrative as a whole. personally, i didn't mind this in the moment, since i found the story so interesting. in retrospect, i do wish that we got more moments between the heroine and each love interest, especially in the true ending.

there are more gameplay elements here as well. you have to conduct investigations, gather evidence, and apply what you've learned during these trial segments. when i first read about this, i thought it'd be a gimmick, but i liked playing through them. it incentivizes you to pay extra close attention to the world.

while i liked the narrative as a whole, i do wish we got more worldbuilding. there are hints of political subterfuge and religious oligarchy that, while touched upon, could've been leaned into more to give the setting a distinct feeling.

number three - olympia soiree

heroine: 8/10 story: 8/10 characters: 8/10 art: 10/10 enjoyability: 10/10 favorite characters: akaza (yoshitsugu matsuoka), himuka (shun horie), and yosuga (yuma uchida)

in olympia soirée, the eponymous heroine, olympia, lives in a society divided into castes based on colors. she is the last surviving member of a clan that can perform rituals to keep the sun aglow. this game is a lengthier title, i believe i clocked in around 25 ish hours (i don't use auto-play so that sheds some time). the story benefits from this, as olympia has rich worldbuilding and lore that's revealed throughout the route's progression.

we get to see the consequences of this caste system and olympia's growth as she becomes determined to realize a better future for the islands. this makes the heroine someone that you want to root for. personally, i'm a sucker for stories that center around a sheltered individual being forced to face the harsh realities of the world and maturing in their own way. this, paired with the struggles specific to this setting, make for a gripping backdrop for the character's routes. all the love interests have problems of their own that they need to address.

this is certainly a mature title, there's plenty of steamy scenes featuring gorgeous artwork. seriously... all the pretty CGs are absolute eye candy. i enjoyed the balance between the main narrative and the development of the romantic relationships, i don't remember ever feeling bored.

ironically enough, i think this is the darkest game from the bunch listed here, surpassing the game with actual horror elements. there's a whole litany of trigger warnings to be mindful of when going through the game's bad ends. they are, as the term suggests, Bad. not light or humorous in the slightest. the poor heroine goes through it. please be mindful of these more touchy subjects.

number two - 9 r.i.p

heroine: 8/10 story: 8/10 characters: 9/10 art: 10/10 enjoyability: 10/10 favorite characters: minami (nobuhiko okamoto), hibiki (shunichi toki), kureha (toshiki masuda), and koyo (ryota suzuki)

i was looking forward to the english localization of this game before it was even announced ... i'd been wanting an otome game with this vibe for ages. and it didn't disappoint! there are four different overarching story sections, with two characters each having their routes fall under them. this makes it difficult to give a summary since each route has a vastly different feel. some routes lean heavy into supernatural horror (such as hibiki and kureha), whereas others are just... supernatural (like with yukimaro and koharu).

the basic premise is that the main character, misa, is a high school girl burdened with her career survey. she's uncertain what she wants for the future and is being pressured by his mother to pursue a career in medicine. in one way or another, depending on the story section, she comes into contact with the afterlife and those who inhabit it.

i loved this game, i couldn't put it down. the routes that leaned heavy into horror were my favorites, which shouldn't be a surprise lol. i do feel some love interests were given preferential treatment of others, i wanted more from sena's storyline in particular, since he's voiced by one of my favorite VAs (tetsuya kakihara, the voice of scaramouche) 😭... apparently this game is receiving a fandisc, so hopefully they'll remedy that in the future.

minami stole the show for me. from what i've gauged online, he's a divisive character, you either find him grating or love him (like i do). i'm biased but i do think he has the most interesting and well-written story out of the love interests, i've played through it three times already. i just adored the dynamic between him and the heroine. he's petulant, selfish, and a bit immature, yet he goes to extremes for her as he realizes his unhinged feelings.

hibiki is a close second. the most yandere-coded of the bunch, he's soft-spoken and polite, but that exterior hides a creepy personality. like all of the characters in this game, there's a tragic element to him. i was worried about the role the heroine would play in helping him 'overcome' this, but i think they handled it well. it doesn't feel like the heroine's fixing him so much as she's helping him have a different perspective on certain events.

yeah i'm not normal about this game, i cannot recommend it enough. it would've taken the top slot if some of the routes were a bit more polished. i didn't care for yukimaro's at all, for example. routes like minami's, hibiki's, and koyo's more than make up for it though.

number one - collar x malice

heroine: 10/10 story: 10/10 characters: 10/10 art: 10/10 enjoyability: 10/10 favorite characters: takeru sasazuka (daisuke namikawa), kei okazaki (yuki kaji), and aiji yanagi (masakazu morita)

the holy grail. the otome games that died for our sins. this isn't just a good otome game, it's an excellent story, with a very human cast, commentary on issues like the nature of crime, and you're left wanting to solve the various mysterious as much as the heroine does. speaking of the heroine, miss hoshino ichika is my all-time favorite heroine. she's clever, resolute, compassionate, and you can't help but fall in love with her a little yourself 😭😭

i'm not sure if this makes sense, but the world feels very... full? you get this sense that ichika exists outside just interacting with the love interests. she has her career, friends, and her younger brother that act as more than passing NPCs. the writers ensured all the characters with portraits are given some level of depth. i left caring about more characters than the heroine and love interests.

each route is dedicated to working through a certain case, which keeps the story intriguing as you progress. finally, all of the little hints that have been littered throughout coalesce into the 'true' route, where questions you've had since the first chapter are given satisfactory conclusions. at the same time, you're left wondering about a few things, such as the complete philosophy of the main antagonist.

ichika's relationship with each of the love interests develops alongside the case they're investigating, which almost always have connections or parallels to the LI's past. this helped ground them in reality and flesh them out into dynamic characters. you come to care deeply about them alongside ichika. the romance feels earned and doesn't come on too fast, which some otome games suffer from.

if you like otome games and haven't played collar x malice yet, i fully recommend it!!!!!!!! it's the strongest title from what i've played so far.

[coquettepascal]

felicitas and her general

summary: general acacius has caught your attention after being the first mortal to worship you in decades. you only face one challenge: don't get too attached.

warnings: rated g, contains spoilers for gladiator ii, follows the timeline of the movie somewhat, reader is the goddess felicitas (who is the goddess of good luck,) this fic is basically just an add on to the movie.

tags: goddess!reader x general acacius, emotional infidelity, lots of roman mythology stuff, writer is basing all her knowledge out of what she remembers from PJO and HoO, worship, complicated feelings, marcus does not cheat on lucilla physically, yearning, pining, grieving, guilt, major character death(s), stalking (kind of), a lot of obsession/dedication, angst, hurt no comfort but also hurt with comfort.

a/n: i watched gladiator ii and then was too emotionally devastated to finish this fic the way i planned. i really hope you all like this!! also, this fic is also dedicated to my dear friend @pascalssbabyy because she is my biggest cheerleader and i love her <33

wc: 7.2k (not beta read)

It was he who woke you.

A quiet sacrifice in the evening that felt like the freshest breath of air you could have, more intense than what you could have atop any mountain, near any spring. The scent of burning meat and smokey vegetables grasped at your lungs, and you almost choked on it. How long had it been since someone had offered you something so kind? Real food, not just scraps of something they didn’t wish for. 

You’d never complain about how difficult it is to be a minor Goddess, you know that you could be a mortal, but most don’t think of how Gods can fade. It’s a physical process, one where you’d notice how your fingertips passed through things like chalices and bowls, how a spoon slid through your hand once. The clatter of gold on the table was embarrassing, even though you were alone. Nothing about being forgotten, or fading, physically hurt. It was only mentally taxing, knowing that you weren’t as important as you once were, that mortals found you insignificant.

Generals used to come and offer things frequently sometime ago, but you couldn’t even begin to understand how long ago that was. When you’re immortal, or supposed to be, mortal lives seem fleeting. You had taken them for granted, and regret it now, for all you have now are the empty clouds above your temple. 

The last offering you can gather was from a young boy, who wanted to win a board game against his sister the next day. He had given you half a bun with strips of meat. Sure, it was thoughtful, but this was something rich. 

You finish inhaling the offering, and then hear the offerer's voice. But it’s muffled, and you want to see who it is anyways, so you swipe through the clouds and create a window to see. Then you can hear him clearly.

Someone who is clearly a general kneels at your altar, which is chipped and dirty. The ashes of the food are in front of him, smoking still, and you can taste the wealth in his meal. It can’t distract you from him though, he is striking.

Broad shoulders support a heavy, curly, grey, head of hair, which is bowed in honor of you. His body is widely built, sturdy for battle, and his voice is just as powerful. You’re so focused on hearing his voice you only catch the tail end of his request.

“... Allow me to come home safely, if not for Rome, then for my wife.”

Your heart squeezes, and you swear you can feel the ichor gushing through your veins. Scarcely when a General came to give you an offering all those years ago would he mention a wife, only ever wishing for luck in the upcoming battle or war. But here, now, you’ve been given a respectful request and offering. It isn’t a thought in your mind to not favor him now, your eyes closing and your mouth murmuring a blessing to him. It feels intoxicating to use some of your power again, especially on someone who asked for it. It also feels intoxicating to watch this General leave.

He looks around before he goes, seeming to note how degraded your small temple has become. The statue of you that lies ahead of your altar is yellowing, and ironically, multiple fingers have broken off. The General seems displeased by this, sighing as he exits the temple.

His gait is heavy, sandaled steps weighted as he walks down them and into the torch-lit night. You find yourself looking for him even after he’s disappeared from your sight, the warmth of gratefulness hugging around you. Part of you knows better than to play around with the thought, but still you wish to know more about him.

—

It worsens when he comes back. A few times a week he returns, offering rich foods. It’s been a month now, and you are coming back to life.

Fading didn’t feel like anything, but coming back feels like so much more. The first few offerings had your body feeling alight again, like the ichor in you was flowing again, but within the last two weeks you’ve gotten your fingertips back. They were tingling for a day and then the next you were able to properly grasp things again, nothing was slipping through you.

In that time you had also learned his name. A guard had come looking for him one night, and stood behind him whilst he prayed. You had found yourself smiling when he didn’t interrupt himself, instead acting aggravated once he had finished. The guard had apologized for interrupting and let him know that “Your wife wishes to speak to you, General Acacius.”

Acacius. 

You still don’t know his first name, but it is enough. You can think of it when you feel lonely, when you are bored. Something to associate with the offerings, with the blessings. The fact he has been so consistent hints at a desperation, which would usually repel you from blessing him, but he is the only one who seems to recognize you. His efforts are not going to go unseen by you, not when you have so little to do.

You can feel yourself conceding to your need to know him more, but just as you begin to fight yourself again, he shows up.

Tonight he’s dressed a little nicer. Usually he arrives in a plain tunic but this one has golden trim on it, and his hair is a little more tousled. He stumbles into your altar holding something in a cloth, but he’s walking like he’s… drunk? 

Acacius meanders to your altar, grabbing a torch along the way, and then empties the contents of the cloth. It produces a small dessert bun, a Libum, or honey cheesecake, and your mouth waters. So much of the food that is given to you is savory meats, masculine foods that are heavy on the senses, but this is sweet and delicate. You can, of course, eat whatever you’d like. You’re a Goddess, and though you aren’t major, you are still very fortunate.

But this feels thoughtful.

The General drops to his knees after lighting the bun ablaze, swaying slightly, and now you know he must be drunk.

“Goddess Felicitas,” he begins as normal, “I am sorry I am later than usual. Though I don’t know if Goddesses sleep. I was… caught up in other affairs, but I made it in time.”

He is less eloquent than usual and seems particularly focused on how it is nearly past midnight.

“I brought you this though,” he gestures to the half burnt bun. “I wanted to bring you something different than meat and… things. I thought a dessert would be fitting for that task.”

Acacius pauses now. His thoughts are probably muddled from whatever he drank, and you find yourself smiling. Foolery has never been so endearing to you.

“You have been listening to me, I suppose. My requests for luck in battle have been answered, as well as my safety being ensured. Your blessings have brought my wife peace of mind, something I could not previously afford to her.”

He looks so small in your temple tonight. Normally he is not so vulnerable, but his shoulders sag as he mentions his wife. Some sort of shame runs over him at the idea that he could not ease his wife’s worries, but it makes you feel better that you could help. 

“Goddess Felicitas, I come here tonight bearing no requests, just gratitude. Your blessings have soothed wounds I could not see, and I feel like a young soldier again. You invigor me.” 

Then, he leaves. 

You watch helplessly as he stumbles back down the steps and away from your temple, and more than ever you wish to chase him. The love he has for his wife is clear, and you hold no jealousy of that, but you wish it were you. Something in you is deeply attached to this General now. He has awoken you so much more than rekindling your power as a goddess, more than releasing you from the grief that comes with fading. Yes, Acacius has made your heart beat again, your mind curious again, and you feel seen. Being worshipped is not the same as being loved, if that were true you’d have had many children by now, 

But after so long being forgotten, this feels like what you remember being loved as.

—

You try not to interact with the other Gods for the most part. They tend to meddle in things they don’t need to, and are sensitive. You are not exempt from this stereotype, but that’s only more reason for the distance. 

But today, you venture to meet another deity.

Morpheus is not hard to find. He is pretty stationery where he is, usually lounging on a rock or bench near his temple, or above it in the clouds. He is a bit…dramatic, from what you remember, but wise. 

Today he is stretched out on a cloud above his temple, eyes shut. His pale skin stretches taut on his bones as his lean frame breathes deeply. But, he is not asleep. 

“Morpheus,” you speak. 

His body rolls toward your direction, eyes still shut, but a small smile on his face.

“O young goddess Felicitas, what brings you to me?” He questions.

It’s hard not to feel embarrassed. You’ve spoken to Morpheus on very rare occasions, but he’s always been somewhat helpful, though nosy. Dreams tell a lot about people, and when he’s the one giving them to people, it’s hard to hide anything at all.

You don’t want him to know of your true affection for General Acacius, just that he is… worthy of a visit. 

And so you begin to describe it to Morpheus, your need to visit Acacius. He doesn’t open his eyes at all, but he raises his eyebrows a lot and seems bemused at your situation. You’re only halfway through your rambling before he raises a gangly limb and waves at your words.

“Felicitas, you think you are the only Goddess wishing to visit her admirer? You need no explanation,” he says jovially. 

Morpheus reaches into the air and pulls 6 black berries into existence, then drops them into your open palm.

“When you know he is asleep, bite down on one of these and think of him,” he describes to you.

The berries smell like nothing, but a powdery residue is left on your skin as you roll them in your palm. It doesn’t repel you at all.

Tonight, you will visit him and express the same gratitude he did to you. 

—

Marcus lays next to his wife, Lucilla, with her hand in his. She fell asleep sometime ago, leaving him to lie awake by himself.

He didn’t make it to her temple tonight and the guilt is festering in his body. Marcus knows that she is a Goddess, that he probably isn’t a thought in her mind. He knows that he is just another whiney mortal, giving her food that isn’t nearly as good as whatever Gods eat. His insignificance grows as he feeds into his guilt. 

Stress has permeated his life for much of it, from his time as a young soldier up until now, as a General. Battles, politics, and his family, have created a breeding ground for him to be wracked with anxieties, but he stays strong. Thanks to his time in Felicitas temple, it’s been better.

Which is why failing to make it to her temple tonight is making him feel so bad.

He grabs at the linen sheets of his bed, stressing and trying to reassure himself until he falls asleep finally.

—

Being in a dream is weird. It feels much the same as it does when you disguise yourself as a mortal, the out of body experience is semi-familiar, but it’s weird because someone else is there.

You’ve been watching the General enjoy the lake in front of him for a few minutes now. He hasn’t slipped into it, but just walks along the waterline. It seems like he is looking for something. Surely his dreams usually contain more action, or perhaps are memories, so you assume it may be strangely understimulating for him.

The appearance you’ve chosen is one of modesty, but elegance. A seafoam green peplos hangs off your frame delicately, with golden clasps at the wrists and waist. You did your hair so it would be tucked out of your face. There is no guarantee that Acacius will recognize you like this, but you look much like your statue that’s within your temple.

Swallowing your nerves, you shimmer yourself into visibility. The grassy field is odd beneath your feet, and you walk toward him with uncertainty in each step. You’ve never met with a mortal before, and you haven’t stepped on anything earthy in a long while. His broad stature only becomes more daunting as you get closer, especially since he seems so focused.

You will have to speak first. You’re much too quiet in this environment, and you must act fast lest he wake before you get his attention.

“General Acacius,” you speak firmly, though your hands shake. 

This is so unfamiliar to you. You’ve barely even seen his face, as he’s usually bowed at your altar. It is the first time you’ll see him at an equal level, the first time you’ll have brought yourself to him rather than him to you. 

He turns quickly, an instinctual aggressiveness toward the unknown. You stand about 10 feet from him, eyes widening.

Acacius is striking. His nose is what you focus on first, strong in shape and line, but behind it are his eyes which look to you with wide acknowledgement. His hair curls around his head in greying ringlets, like a permanent laurel crowning him. The wide expanse of his back was once impressive, but now you can see the solid wall which he becomes when facing you. Nothing could push him over it seems, a man built to stand.

Your heart squeezes the way it did the first time he gave you a request, a tender rush tingling your whole body. No words come out of either of your mouths, and the General drops to one knee instantly. 

He recognizes you.

“Goddess Felicitas,” he rushes out in a breath. His chest is heaving as he bows his head and no, no this isn’t how you want this.

Your feet are moving before you can focus on your anxiety, bringing you so close to him that you can kneel too. Maybe a goddess should not kneel before a mortal general, but you are just on your knees rather than putting yourself below him. Your peplos billows a little as air rushes through it when you hit the grass.

He is above you like this, and you tilt your head to see his face again. His strong brow is furrowed, eyes squeezed shut like he is afraid of you. 

“Acacius,” you say softly, “I am not here for… for ill reason. Please relax yourself.”

You lean back as he relaxes, head tipping upwards as he kneels in front of you as well. Now you can meet his eyes, see the crinkles that are beside them, and really take him in.

An energy of anxiety is shared wordlessly, with him stiff from the sight of a literal goddess, and you with the fear of… something. 

The identity of your anxieties isn’t something that you can figure out. Maybe it’s too much to see such a handsome mortal, or maybe it’s that you’re going to thank him for his offerings so personally. Maybe it’s humiliation from this act. What would other Gods think of this? Is it not degrading to become so attached to a mortal? Are you no better than Zeus or Hermes, the gods who interact too intimately with mortals? 

The sound of his labored breathing alerts you, calls your attention back to the present moment. 

“I wanted to thank you,” you admit meekly, “for your offerings. You have been very generous and… devoted.”

His eyes are shifty, and you can see the terror in him still. You don’t want him to fear you, but you can understand why. Visits from Gods or other deities can mean trouble, but you aren’t significant like that.

“General Acacius you are the first mortal who has acknowledged me in a long time,” you offer a vulnerability, perhaps trying to soothe him.

It feels so backwards for you to be kneeling in front of him, speaking. He has done so in front of your altar for many weeks now, but now the spots are switched, yet you are still in power. You avert your gaze as you speak up, wanting to request something of him.

“You’ve been so generous to me, General, I was hoping to know more about you.”

And now, rather than scared, he seems suspicious. 

“To know me?” He clarifies. 

You nod.

“I only know your last name. I think I could offer more luck and splendor if we were more… personal.” 

Gods that felt awful to say. You’re no better than the whorish brutes on their thrones, offering petty glories for intimacy. Everything feels flirtatious but that’s not what you’re looking for. Acacius has a wife he clearly loves, you would never want to interrupt that. 

He seems to hesitate, but he knows he cannot refuse you. So far your blessings have brought ease to his life, he wouldn’t want to lose that.

“Then… yes, I suppose I can offer myself if it would please you.” He responds stoically. 

And it does please you, to know his name. Marcus Acacius, the one who woke you, the one who has saved you from being a fragmented memory within the temples. 

Marcus Acacius, who you are too fond of.

—

You visit him 3 more times. In an attempt to space out the usage of the berries Morpheus gave you, you only visit him once a week. The bleak tasting berries are sour on your tongue, a rotten sour which lingers once you wake up, but it’s worth it.

The two of you have grown closer, with Marcus opening up more. He tells you about the stresses in his life, how much anxiety is buried in him. But, he’s confident for the sake of his wife. You’ve learned that her name is Lucilla, and much more about her. Marcus talks about her a lot, in passing or retelling something she told him. In the small amount of time you’ve gotten to know him, you’ve gotten to know her as well.

It burns you with a strange warmth, a desire and envy which makes your stomach growl. You are hungry for him to admire you in the same way, to speak of you, but doesn’t he already? Shame grips your throat when you think of it. You are a Goddess who he sacrifices to, who he wishes to have blessings from. What more do you need? A mortal couldn't offer you what another deity could. 

After the fourth meeting, you found yourself lonely. Lazing back in the clouds above your temple, you woke with a deep hunger. Marcus is beautiful, an admirable man, and he loves passionately. You are already being such a glutton for even speaking with him, meeting with him repeatedly, so why must you yearn for him too? 

Worship isn’t enough, you want what you will never let yourself to have.

Nothing hints that he might feel similarly. His starry gaze which lands on you is not due to your beauty, your personality, or anything more. You have blessed him, and that is why his eyes glitter. Goddess status has never made you feel so low and isolated. Still, you are happy to help him achieve what he wishes, even as it cripples your heart.

Tonight you plan on visiting him. That fourth visit was a week and a half ago, he may be wondering where you are. He still comes to your altar each night, but the prayers are less personal. Marcus saves his stories and ramblings for when the two of you are in the field, or near the lake, when the two of you are really alone.

—

You bite into the berry at around midnight. Its tangy yet death-tasting juice floods your mouth, clinging to the crevices between your teeth and staining your gums. Closing your eyes, you think of Marcus, and his curls, and his eyes, and his nose, and his strong hands.

And then you are there, and he is waiting. 

It seems like his subconsciousness has picked to be at the lake today, and he’s sat in the sand at the edge of the water. You walk over to him, but notice how… down he appears to be.

“She is not happy with me,” Marcus confesses before you even sit down.

You stand a few feet back from him, looking at how his curls fall around his bowed head.

“Lucilla?” You ask softly.

He nods.

A wicked feeling begins to steep in your heart. She is upset with him, he is in need of you for something more than a blessing. 

And so you listen. 

It’s one of the longer meetings the two of you have had. Marcus doesn’t cry, but he seems truly upset. He’s been called to go off somewhere far again, to fight and kill. Reassurances that you will protect him as best you can only soothe him so much. 

He doesn't care if he dies, he cares that his beloved is distraught over this. 

The more the two of you talk, the closer you get. There are marks on the sand from where you originally sat, but now you kneel in front of him, with creased brows and worried eyes. This isn’t something you can fix, you aren’t familiar with love and its intricacies. 

His knees were tucked closer to his chest before, but they’ve loosened now and his fists rest atop them, clenching. Frustration sits on his face like a mask, one you wish to take off him.

Touching is not… something either of you partake in. Sometimes your shoulders will brush when you sit together, but nothing more has ever been initiated. 

That is why it doesn’t surprise you when he flinches as your hand reaches out to rest on top of his right clenched fist. 

“Marcus,” you say softly, wanting to offer comfort, but he cuts you off.

“Don’t,” he replies swiftly.

At first it hurts, watching as he waves off your hand from his own, but then you look at his face rather than where your hands were joined. The frustrated look on his face is gone, replaced with something worse, something guilty. His eyes aren’t glittering at you like usual, nor are they hardened with anger.

They’re soft pools of conflict that mirror your own.

It doesn’t soothe your burn, satiate your envy. You can see in his eyes that maybe you aren’t alone in these feelings of admiration, of want, but maybe this is not what you want.

Maybe you want a different universe, one where he doesn’t have to be a mortal and you, a Goddess. So you wouldn’t have to worry about him dying, and have this friendship survive off death flavored berries. Maybe you want a universe where he isn’t married, where he could be yours and you wouldn’t feel like a spectator to his heart.

Maybe you want that, but you won’t get it.

Instead the flames of jealousy die in your chest and are replaced with tumors of guilt. Your whole body feels bloated, embarrassed, and ugly. 

The pair of you stare at each other, a stupid realization between the both of you as you realize that your secrets have been spilled, even though it’s the same one.

His eyes don’t move from yours, so you move from his.

The sandy edge of the lake does not look so bright now, even though there are no clouds in Marcus’s dream. 

“When do you leave?” You ask softly. 

You will not follow him into whatever battle he’ll win. Don’t embarrass yourself, Goddess.

He tells you two weeks. You say you’ll see him before then.

Then you wake on a cloud again, with a cavity of guilt in your chest.

—

Marcus wakes alone. 

Lucilla had not wanted to sleep with him that night, choosing to stay elsewhere. She didn’t tell him where, she left in a quiet flurry of tears and anguish.

It’s easier for him to feel guilt over his Goddess than it is to hurt his beloved, even if it is the same.

In a moment of frustration he grasps at the sheets, turning over and biting at his pillow. The bed is so cold, and the room smells like stale air even though the window is open, the night breezy. 

He knows she is beautiful because she is a Goddess. All Goddesses are beautiful, ethereal beings that mortals cannot even comprehend at times. Marcus knows he is lucky to even perceive her, for her to have chosen to visit him.

Yet through all her blessings, he feels cursed.

A plague of emotional infidelity is crawling through his body, sticking to his bones and making him stiff. Everything he does has felt flat for so long, from pretending he is grateful to the Emperors, to now pretending nothing is wrong in his marriage. He’s scared, and exhausted.

Marcus rubs a hand over his face after rolling over and sitting up in bed, groaning into his palm. 

At first he tried to blame her for it. What would a Goddess want from a successful General other than a demigod hero son? What could truly be so special about him? He assumed she was manipulating him, using some sort of power to morph his heart, but now he knows it is not true.

If she had wanted to, she would have had him by now, and he knows this. If she had wanted to, her hand would have stayed where it was tonight, and pushed him further. It isn’t unlike the Gods to force themselves on a mortal, but she didn’t.

Instead, his hand feels hot where hers rested, and his mind is spinning. 

Marcus doesn’t fall asleep again, afraid that he’ll see her. 

—

You wait for a full two weeks before you visit him again. He had been coming to your temple less, and you had assumed he was busy with preparations for the coming battle. 

The stubbornness you felt that night has not left you. At first you did not leave your temple in fear that you would grow attached, now you remain there because you have grown attached. 

“Enough is enough,” you had thought to yourself. 

But it is hard not to miss him, and his soothing prayers. The way his offerings tasted of smoke and sweet, and how he’d always burn such a large portion. Marcus never gave you scraps, he seemed to refuse to. 

However, you can only distance yourself so far. 

It is quiet when you approach him. He is sitting in the field this time, the lake a distant glitter in your eyes. He does not face you, but his head isn’t bowed like before.

“Marcus,” you greet, your voice muted.

He raises his head, turning over his shoulder and nodding, as if to direct you to come closer, and so you do.

Tonight’s visit isn’t vulnerable, or even pleasant. Marcus seems so distant as he dryly tells you about how he’s preparing, and his wishes to return safely. His eyes barely meet your own as he talks, and he continuously twists the ring on his finger.

It grows tiring, watching him ramble about politics you could care less about, listening to him say things that have nothing to do with him. He’s so far from the friend you thought you had made. When the air between you goes quiet, you don’t fill it for a while. You listen to the sound of the wind in the grass as his eyes still will not meet yours. It’s breaking you apart.

This is the last night you’re able to visit him, unless you visit Morpheus again. You will not waste it like this.

“What is ailing you, General?” You ask, deciding to prod more than you usually do.

To your surprise, he scoffs in light laughter.

“You,” he responds quietly.

His words don’t hurt, at least not yet. You have the option to walk away now, wake yourself and leave him with his final blessings, but of course you don’t.

“Me?” You ask, “what have I done?”

Marcus rolls his shoulders back, lifting his head to look into the everblue sky above the both of you.

“You have made my life difficult, Goddess.”

Difficult? You have made his life difficult?

You have half a mind to tear him to pieces, curse him with something awful like snakes for toes, or spoons for teeth. After all that you’ve done for him, all the safety you’ve provided, he is telling you that you make things difficult? How dare he? Be outraged, Goddess, for he disrespects the holy luck which you bestowed to him.

That’s what you should think, that’s how most of you should feel.

But instead you feel small, and hurt. Yes, he is disrespecting all that you’ve given, but also you feel like a failure. Your physical existence is because of him, because he did not let you fade. All you wanted to do was make his life easier, help him to have an eased mind and a safer life.

But instead, he’s telling you you’re difficult.

It feels like your body is shrinking in the white peplos you’ve worn, the sheer fabrics swallowing you. Shame is flooding in the form of tears behind your eyes, wetting your orbs with an unexpected outburst of emotion.

“I am sorry,” you manage weakly.

Marcus does not look at you while you cry, and you want to believe it is because he cares too much to watch, but you cannot verify that.

The wind picks up again, but it does nothing to hide the soft cries you can’t hold back. Once you were a fading Goddess, now you are just a failing one.

There is no luck involved with love.

Eventually he speaks again, with his head turned away from you.

“I am sorry too,” he says. There’s a finality in his tone that makes you ache.

So much is said in such little words. He is sorry to you, for you, and with you. A sorrow is shared between the two of you, knowing that your hearts ache for one another as they are worlds apart yet on earth together. 

This last berry was only supposed to mark the end of your visits, not the end of everything. It feels like this is all there is for the two of you, since it’s too complicated to continue on like this.

That’s why he doesn’t move away when you move closer and rest your head on his shoulder as tears leak down your cheeks, or at least that’s what you’ll believe. 

—

Time moves weirdly when you’re immortal, but it all happens so quickly.

Marcus stopped coming to offer things for you, and so you were blessing him less. Admittedly you had kept an eye on him, but not a keen one. It didn’t feel right, not when you and him weren’t… friends anymore.

But this feels too soon, too fast, too unfamiliar. Has your sadness caused you to be blind?

You watch as a man kneels in front of Marcus, panting and bloody with a sword beside him on the ground.

The only reason you are here was because you had felt the roar of a crowd all the way at your own temple, a wide distance away. It had drawn you in, and instead you had found this.

That roaring which you had heard crescendos to a new height around you as you shimmer into existence, cloaking yourself to the mortal eyes in the stands of the coliseum, but existing enough to touch him.

Arrows stick out of his front, more crushed beneath his back, as he is slumped on the white, gravel, ground. His hair is curled with tacky blood streaking through it, and he is so, so, still.

You drag your hand across his forehead, feeling the remaining heat, and in the echo of the crowd you begin to sob. 

Everything around you is moving, changing, fighting, and screaming, but you sit invisible in the center of the coliseum, running your hands over the now dead General Acacius. There is nothing you can do to bring him back, to ease Lucilla, to save him and apologize. He is dead beneath your fingers, with arrows lodged deep in his irreparable, mortal, flesh. 

You were supposed to keep him safe.

Hot tears run down your cheeks as you keep grasping at his armor, unable to move him or yourself. The last visit felt official, but this feels final. There is nothing more for you here, no friendship in a corpse.

Thoughts are running through your mind at the rate that your breath is puffing from your chest. The question of where he will end up in the afterlife is overwhelming you, and the chance for him to go to Elysium feels reasonable. It’s where he should be, where he deserves to go, especially after all he had done for Rome. You don’t even care why he’s here, or why he seems to have been brutally killed, but after the time you spent with him, Elysium seems right for him.

—

It’s where he should be. Elysium is where he should be.

And it’s where you find him.

His place there is somewhat similar to his and Lucilla’s home back in the mortal world, with lush greenery and airy drapes that flutter in various colours. It seems like he has left space for Lucilla here too, with space left in the chests for her things, and a permanently made half of the bed.

Elysium offers a true celebration of life for heroes, demigodly or not, and you’re sure Marcus has been enjoying that. Anything that he had been shackled to in his mortal life was gone now, and it seems that all he would have to miss is his wife. 

Most of your time is spent there, in his afterlife home. You peer from behind curtains when he comes back, hidden in drapes and keeping yourself small. 

He is already dead, but after the last time you abandoned him, you cannot bear to leave him alone again.

The vision of him, bloodied and murdered on the coliseum floor, flickers into your mind every time you see him lying in his bed. It’s an obsession to be near him, to be looking after him. Pluto might not even know you’re down here anymore, but what does it matter?

Marcus Acacius was the last living mortal to worship you. In the underworld, you are beginning to fade. Your fingers are slipping from you again, which is making it easier to lurk near him, but it is a painful process.

You want to speak to him. No longer do you yearn for his love, not after being in his home and seeing how dedicated his heart truly is to Lucilla, but you yearn to speak to him again. A panicked emotion runs through you at the thought of fading alone, of being entirely forgotten. 

It didn’t matter before he died, fading was just something bound to happen, but now it’s more. Is he forgetting you?

—

You’ve lost most of your arms by the time you work up the courage to speak up. Lucilla arrived sometime ago, joining Marcus in the afterlife. Watching them together brought some warmth to you, some kind of happiness that you couldn’t have for yourself, but seeing it for him was enough.

You sit on the terrace of their home, invisible to their eyes, and somewhat to your own. From the tips of your fingers to just below your elbows, you are a specter. Grey shadow fills where your limbs used to be, and they pass through all objects. You couldn’t tap his shoulder if you tried.

Oftentimes you sit, hidden, and ponder by yourself about more than Marcus. There were so many things you were adamant about when he was alive, and you regret it all now. Your determination to avoid your feelings, or at least not show them, and your need to not become attached… it bites at you now, a stinging, grieving, venom, that won’t leave. Your status as a Goddess blinded you to how tender that friendship could have been, and now you sit as a ghost spectator to his afterlife, obsessed with a mortal as a fading immortal. 

The tips of your fingers pass through the glass you try to grab as you think of this on the terrace. You’re glad that you’re such a minor deity, so at least you do not have to feel so humiliated about fading. A smile has just graced your face as you feel blessed for being so unimportant you can essentially stalk this mortal, when suddenly his voice cuts through the humid air of the space.

“Felicitas?” Marcus’ voice asks.

It’s so hesitant that you think you’re imagining it. You thought you had their home to yourself right now, thinking they had gone to do… whatever souls do in Elysium, but when you turn your face, he is there.

Marcus has not worn fancy clothing in a long while now, and right now is no different. He stands before you in a plain looking tunic, which just graces his knees. To see him at ease has been so nice, but he looks distressed at your sudden appearance.

You cannot find your voice as you awkwardly stand up, trying to think quickly. There is no good way to explain what you’re doing here, hidden away in him and his wife’s home. You could just vanish into thin air, but that feels wrong. He has seen you already, any attempts at pretending you aren’t here would be ridiculous.

His eyes scroll from your face down to your arms, and the smoking shadows that used to be there. Concern pinches onto his face with knitted brows and pressed together lips.

Something in you wants him to turn away, so you don’t have to think about why he is worried for you, even after all the trouble you caused, but he doesn’t.

His sandaled steps are heavy as he comes to you, reaching for your hands but finding the gesture fruitless as his own slip right through yours.

“Dulcissima,” he speaks weakly, shock woven in his words.

You had told him about fading a little while ago, when the two of you were in that field. Now it seems the severity of it has hit him.

What is hitting you is the name. Dulcissima, or sweetest. How long had it been since you had been referred to so fondly? All at once you are being remembered, recognized, and shown some affection. It feels like too much and tears are falling out of your control.

“I’m sorry,” you manage, “I was supposed to– to keep you safe.”

Marcus is shaking his head already, refusing your apology.

“No, no. You did keep me safe, you did. I pushed you away, I couldn’t control myself and I caused this,” he argues. 

It does not comfort you that you both blame yourselves. You wish to reach out to him and touch his face like you should have when he was warm and alive. You want to know if he is cold now, and it’s as if he hears you.

Marcus places a hand on your cheek, a softness in his eyes and hold that says that he missed you.

“I saw you,” he claims, “when I was on the ground. You were the last thing I saw.”

Somewhere between life and death for mortals, there are moments of godly clarity. Some see the light, others see their families and memories, but in that tiny glimpse of time, some see Gods. 

He was able to see you as you knelt over him, sobbing as you were cloaked to any mortal's naked eye.  You were the last thing he saw, and the last thing he truly regretted. 

All you can do is stiltedly nod at him, feeling like you were in trouble even though it seems he’s not upset.

For a moment, his eyes flick away, contemplative, but then he meets your gaze again.

“I told Lucilla of you, before I died. Not– not of my feelings which I struggled with, but that you were a close friend, a blessing in many ways.”

A blessing in many ways.

Another choked sob is wracked from your chest, your bottom lip curling out embarrassingly as your face contorts. He almost coos at you, the thumb on your cheek rubbing away your tears.

“Goddess, I have missed you,” he admits. 

Stupid nods are all you can offer, your voice imprisoned in your ever tightening throat which cries. When he was alive he was never this tender, too confused and insecure to ever touch you, but it seems he has been regretting things too.

“Felicitas,” he says quietly, “do you come here for ill reason?”

You shake your head this time, rather than nodding. You have no reason to be here, other than the fact that guilt has taken over your mind and heart since he died.

“Then relax, dulcissima. I have an offering for you.”

Marcus relaxes his stature, eyes still gazing over you. He looks at your fading palms and you watch him swallow nervously.

“I will worship you again, lending you offerings here, and all I ask in return is for our friendship again.”

It’s the opposite of how you met, almost completely, but it’s everything you need. You will not fade, he will not struggle in marriage, and you will have one another again. 

Again, you are nodding stupidly, but soon you’re embraced by him and nodding into his chest. His hands grasp at your back as he tells you how much he missed you in his final weeks, how he regrets losing you entirely, how he requires you as a friend. 

You are satiated in his arms as he comforts you, awakening you again there on the terrace. Unbeknownst to you, Marcus has let tears slip down too as he holds you close. 

“You will keep me safe here?” he asks jokingly.

It makes you smile, the idea of offering luck to a man who already died.

“Yes, General. I will keep you safe here, from all the horrifying glory and splendor,” you assure.

The two of you laugh, breaking the embrace but staying close. A passionate connection is still between the two of you, but in a different way now. Maybe when he was alive it was romantic because it is all you could think of, but through his death the two of you have come to understand it more. 

You require one another in a unique way, and leaning on one another does not have to be intimate the way he is with his wife. Marcus does need you, just as you need him, and now that you are both immortal in a way, you will never be separated again.

please leave a comment, like, reblog, askbox, or ANYTHING. i'd love to hear thoughts on this <33

tags (people who seemed excited for this) (sorry if these dont work)

@pascalssbabyy , @moonshapedflan , @gossipgirl-03 , @kyloispunk , @frannyzooey , @coocoolahh , @bug-boy32 , @honeymarvel , @magicalmorg , @1deakybass , @tuquoquebrute , @harryshousewhore , @teeagain, @chewie-bars , @vampyyweek , @queenslandlover-93 , @amijenn , @aquanatalie

[flaetsbnort]

It's a very common and very damaging mistake to think that the difference between "narrativist" RPGs and "simulationist" RPGs is that only the former has a story; or that the people playing the latter don't care about story. Dungeon Gal has been fighting bravely on this front for a very long time.

The difference, in my eyes, is one of focus. When you're playing a story-centric RPG, all the mechanics exist first and foremost to tell a story. And, in order to make this story-creation process simpler and easier and natural, it uses building blocks from well-worn genre clichés to achieve that. So story-centric RPGs aren't more likely to create a story, because we always create stories from stuff that happens to us, and even more so from play; they're not even more likely to create better stories. Rather, it's just easier to create stories, and to make sure that these stories follow a desired theme and vibe.

I really like that one way to categorize RPGs that calls this axis as simulationist X emulationist. I know that the "simulationist" term comes with bad baggage from the GNS days, but I think it's a useful descriptor for systems that care more about the physical properties of objects (how strong is your punch? how dextrous is your lockpicking? how much power does your spell call forth?). But I think using the term "emulationist" for narrative or story-centric RPGs is a good way to stress that the main difference about them is that they have tools to create a story along a pre-defined thematic axis, that is, their mechanics exist to emulate a kind of existing media; it's not that they have tools to create a story at all.

One example I can think of about this difference is character death. Most simulationist RPGs don't care about it much. It's entirely possible to create a character then die in two unlucky hits fighting a giant rat in the sewers. Conversely, in most emulationist RPGs, character death is difficult to come by. Apocalypse World is known to be a particularly cruel RPG, but look at its mechanics. It outright says that most (unarmored) NPCs die after taking 4 or 5 harm, but PC's harm clock has eight segments. Sure, a PC that takes 5 harm is actively dying - but an NPC in the same situation is dead and gone. And even if a PC is dying, there are four scars you can take to keep them in the game for longer. Players can of course accept their character's death earlier, but they don't have to.

Why does this happen? That's because, in most stories, you wouldn't kill a main character (and all player characters are main characters) in the first combat unless you were going for some sort of subversion, so there are many tools to make sure that bad rolls only change the direction of the story and to make sure that every player character gets to have at least some semblance of an arc. Simulationist RPGs don't care because they know that a pompous knight that shows up talking big about their quests and then dying to a sewer rat is hilarious and makes for a great story. And it's not that emulationist RPGs don't see it - it's that they don't want a story that doesn't fit the vibe their going for.

The best metaphor for me is an offroad car. If you care a lot about driving offroad, you'll get an offroad car, and it'll do the best job at it. But you buy a car that's not specially made for offroad, that doesn't mean you'll never be able to drive it out of the asphalt. It just means you'll have a bit of a harder time to do it. But you'll eventually get to the same destination just the same.

What are some examples of mechanics in games that advance the story?

I mean very few mechanics in TTRPGs don't advance the story. So, to provide few examples:

Attack and damage rolls (advance the plotline of "how this guy got fucking killed")

Skill checks (advance the plotline of "how that one asshole did a thing and succeeded/failed"

Gaining experience/other character advancement currency (advance the plotline of "how the character learned from their experiences and learned to shoot lighting")

Random encounter checks (advance the plotline of "look at all this fucking bullshit these idiots ran into while traveling from point A to point B")

Note: I've specifically chosen D&D centric examples because while D&D is the furthest thing from whatever the fuck "narrativist" is supposed to mean, simply by virtue of being a tabletop RPG the creation of an emergent narrative is an inevitable consequence, so if you're wont to look at TTRPGs in terms of "stories" technically all those things do advance the story.

[whoreforsexymen]

SMUT | One-Liner Prompt List

Pairings: Anyone x Reader

Pronouns: Mix of GN!, Fem!Pronouns, etc. Will happily make any prompt request specific to your preferences 🤍

Rating: NSFW, 18+, MDNI !! You WILL be blocked!

Notes: Please feel free to send submissions using one or more of these!! 🤍 I can’t wait to see what characters, prompt combos, and ideas you guys come up with!!

Will be updating this list as I come up with more, or will be adding more parts. If you wanna see specifically themed prompt lists, lmk in my ask box!!!!

Will be creating a fluff list, too. Stay tuned 🤍

REQUEST/SUBMISSION INFO

1. “Stop looking at me like that or else I’m gonna cum too fast.”

2. “Don’t act like you didn’t want to end up under me like this.”

3. “Ooh. The cat’s got claws~”

4. “No, no— Don’t let little ol’ me stop you.”

5. “No. Don’t take those off. Those stay on.”

6. “You didn’t seriously think I was gonna let you cum… Did you?”

7. “I’d rather watch you take something other than whiskey down your throat.” “Oh yeah? Like what?”

8. “Don’t mock me while I’m fucking you.”

9. “That’s a bold decision, considering how I’m balls deep in you right now.”

10. “Patience, love. Good girls/boys are patient.”

11. “Lousy manners won’t get you very far. Now. Try saying ‘please’?”

12. “I’d spank you but I think you’d enjoy it too much for it to be reprimanding.”

13. “It really is such a shame that you can’t tell me what you want with a mouth so full of my cock.”

14. “If you want my cock you’re gonna have to do a better job of convincing me.”

15. “Watch your tone. Don’t make me put you in your place.”

16. “Crawl.”

17. “Sorry, love, it’s hard to understand you with your face buried in the pillows like that.”

18. “Shut up and fuck me already.”

19. “Careful love, or I might just eat you alive before you can leave.”

20. “You’re just dripping, aren’t you? How bad are you aching for me to fuck you, huh?”

21. “Shut up and take my fuckin’ cock.”

22. “Then I guess I’ll just fuck you up against the window, hmm? Make everybody watch. Since you clearly want an audience so bad, cause you can’t stay quiet.”

23. “You’re pretty demanding for a brat who’s done nothing to earn the right to make demands.”

24. “You talk such a big game for someone who can’t even put two words together when I’m fucking them.”

25. “If your eyes move from mine even once, I’m leaving. And I won’t come back. I’ll leave you here all alone. Aching. Begging.”

26. “You call that begging? Tsk tsk. You can do better than that.”

27. “You call that moaning? Tsk tsk. You can moan better than that.”

28. “You call that crawling? Tsk tsk. You can crawl better than that.”

29. “I won’t even consider fucking you unless you cum all over my boots first. Show me how bad you want it.”

30. “Lick it up.”

31. “Slow.”

32. “Easy.”

33. “Careful, little mouse. Keep talkin’ like that and I might just have to teach you a thing or two about respect.”

34. “That’s not nearly desperate enough.”

35. “Did I hear a please? My. You’re being so polite for once.”

36. “You’re being so obedient.”

37. “Keep your hands to yourself.”

38. “Don’t make me come over there.”

39. “I’m not pulling out. Want you full of my cum. Want to see that shit dripping out of you by the time I’m through with you.”

40. “So that’s why you had such an attitude, eh? Just needed a good fucking to pacify you?”

[ptewie]

How a random assortment if indie game characters would react to you coming out: a 🧵 (Part 1)

“Ah! Fear not my friend! It does not matter if you are a dandy, fairy, or whatever else you wish! You are one of us!

“Aumhnhmubgmhnaaa.,.,. *sniff* abuhbhgb.,.,.”

“Like Ellen?”

“OK. “

“HUH?!? Wait, what? Since when?!?…Oh shoot, I’m sorry! I’m happy for you, I swear!!! I just would have never expected it…”

“Brblblblblrvbl!”

“…”

(thumbs up) :)

“That’s great and all…but we need to escape this dimension!!”

❤️ Yo your one hot hotbaby

"Um... good for you?! (I have never met this person in my life...)"

(Slurs)

"Boop!"

(hits you with an umbrella)

"Ha, you would be."

(After explaining it to him 4 times) "Ohh... Okay! Now I get it!" (lying)

"Wonderful, me too. Now then, could you point me towards the exit?"

"...?!"

(nods)

"Thanks!"

"ha, fag." (is bi)

[THOUGHT GAINED: Homo-Sexual Underground]

"Honk!"

"AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA"

"GIVE ME YOUR BLOOD"

(Hits you with the dream nail to read your internal thoughts)

"Don't make it your personality, okay?"

(seconds away from a panic attack) "Nice-a!"

"Do you have 2 dollars for the funfair? I am incredibly pregnant."

"..."

"I don't care. Move aside."

"Abwah"

"If you want to survive, you will need to create weapons and shelter! Start by chopping down trees and gathering wood!"

[dadrielle]

I am going to treat this as being in good faith even though I know you have copy pasted this same response on multiple posts.

It's fair enough to see this post and roll your eyes about it. I am being a sarcastic lil bitch about implications that really aren't meant to be there! Liam absolutely didn't mean to do this as an "Orym doesn't trust them" or "Orym doesn't respect their boundaries" thing, and I know that. And I know no one in game is gonna read it that way, either. I didn't tag this Orym specifically because I was picking at a small thing irritably and I fully acknowledge that.

But! There are 3 things I want to say to this on a more serious note.

First, I think we must acknowledge that the implications of listening in on one's friends over listening in on one's enemies are quite different. People have different reactions to different applications of Observant because the social stakes and boundaries are situational. It means something much different to punch an enemy combatant in the face than it does to do the same to your best friend, you know? And Orym is not omnipotent; he does not just automatically know everything that happens, despite how we all joke that he can see god with his high perception. When he chooses to listen in should matter, as should the implications. That's actually my main issue with this whole thing, but I'll get to that in a moment.

Second, I would just like to say while I'm sure you believe it's true I and others critical of Orym don't talk about any of Orym's actual flaws, the fact of the matter is there are many fans who do most of our character discussion privately with our friends instead of tumblr or god, even worse, twitter. And my Orym feelings aren't identical to every other person who is critical of him. As I said in the initial tags for this, I don't think this was the worst thing in the world, it just bugged me! That was just an emotional response, and those often pass. There are lots of moments in stories where my initial reaction is a strong negative emotion, because I am feeling the feelings of the moment, but then I love the full picture it creates. Imogen and Laudna's "did we break up" phase is a great example of that, especially Laudna's ongoing insistence that she was a dead end. It hurt to watch! It made me sad! But it really enriched the narrative! My actual, continuing issues with this Orym moment have nothing to do with Imodna, or the meanings of this moment in particular. It's just another expression of something I've been grousing about among friends for ages. I actually WISH it was Orym being fucked up, that it was something that would come up again later, something he might get push back on. I wish the implication that he feels the need to monitor Imogen and Laudna, that he isn't thinking about how they might feel about it, was a flaw that would be explored with the other characters. Instead it was just kinda there and I imagine no one else will ever have a reaction to it one way or another.

And that leads to the final thing: my biggest issue with Orym listening in is that it DOESN'T matter. It feels like at some point, Liam stopped having Orym engage with other characters and the narrative as actively. It's started to feel very repetitive, and I am deeply frustrated with it. I know he is a reserved, PTSD-laden soldier who uses his hard line morality and sense of duty to hold himself together, who refuses to tell his friends how he feels because he doesn't want to be a burden. I know this! And I think it makes for an interesting character and I want to love Orym as much as I used to. But this is an interactive game, an ongoing narrative, and after a certain point, choosing to have your scenes be solo and keeping your character from changing any of their stances starts to feel like refusing to give other people room to react and challenge your character, and refusing to engage with how others' narratives have changed. What Imogen expressed about not running in this episode isn't a revelation. She has, at this point, been saying some variation of it for about half the campaign. And he has told her he is proud, before. It was nice, then! But listening in to their conversation here and feeling proud in isolation didn't add anything new to the narrative. It could have, if it was a conversation, if he had talked to Imogen directly. But instead it feels so empty to me. Disconnected. It even sort of re-framed the moment as if it was about Imogen Finally Choosing To Not Run, instead of being about Laudna trying to reaffirm a future that keeps slipping from their grasp, one she only just started to believe in again on the precipice of Imogen possibly sacrificing herself for the world. It makes it seem like Orym has barely moved on from the solstice, like he hasn't registered how Imogen's narrative has developed since then.

There are so many things I would love to see from Orym that require acknowledging that things have changed. I wanted him to talk to Dorian instead of chasing after Dorian's dad to say he should be proud of Dorian, especially since Dorian had already had his big cathartic conversation. I wanted him to ask why Dorian has come to hate the gods so much, to ask him why it wasn't just the Spider Queen he was mad at. I wanted him to talk to Fearne about the fact that people outside the party have treated her with the same anti-Ruidusborn suspicion as Imogen, particularly in light of their conversation about taking Imogen out pre-solstice. I wanted him to actually internalize that he was wrong about there being nothing beautiful in Exandria before the gods, and to talk to Ashton about it in a way that starts with him actively listening to Ashton instead of just repeating the same arguments, even if he came out the other side still disagreeing. I wanted him to realize that there hasn't been any danger of Imogen running and that the core of her struggle now is with the fact that she's being asked to sacrifice herself. I wanted him to talk to someone about his guilt over killing Zathuda. I wanted him to acknowledge the hardness he put on when he tossed the locket on Bor'dor's corpse and declared this was war and what that hardness did to him. I wanted him to work on his flaws and talk to people! But instead, he listened and reacted in isolation. The fact that his reaction to Fearne asking him if he was ok as late as episode 95 was just "then why ask? You know the answer" instead of opening up is narratively a problem for me. The few times he has opened up a little have been wonderful but he's still holding most of it to the chest. So many emotional Orym scenes are people talking to him about his emotions and him not responding. We're in too deep, man! "If not now, when?" doesn't just apply to kissing Dorian, you know? He is running out of time to open up.

So. Do I still think listening in on that moment was sucky of him, even beyond the hyperbole? Sure. I think generally purposefully eavesdropping on something like that is sucky. It's a small kind of sucky, though. A blip. Because this is a story, the big sucky thing is that it didn't mean anything for any other character and felt just narratively disconnected. And I find that so frustrating because there are so many potentially meaty, interesting things possible in Orym's story, and I desperately want that richer narrative for him and for Dorian and for all of them.

You might not agree and that's fine. To paraphrase Orym's own words, every one of us forms our own interpretations with the lenses or prisms we see life through. Of course I'm gonna get more het up when this ongoing, general Orym frustration touches on something Imogen or Laudna related - they're my favorites! Of course that influences how I see things. I know they aren't everyone's favorites, so something like this moment won't be a domino-kick on tangentially related, piling frustrations for everyone. But it is for me. I'm not really trying to convince anyone I'm right, here, just to explain why I feel this way about it.

Sure would be fucked up if Imogen and Laudna, until only recently, had every single one of their private moments observed against their will, and then their friend decided to observe possibly their last private moment against their will, huh? :)

[wren-galathinyus]

a little late to this game and I can't even give my full notes like the previous two times (I'm at work and can't do the second watch through I do to take note of my thoughts) but I would like to scream regardless, sp here are a few disjointed thoughts and feelings I'm screaming into the void!

as always, spoilers for arcane, the final act, under the cut

-LESBIAN SEX LETS GO WE FUCKINGGGG WOONNNNNNNNNNNNNN 🎉🎉🎉🎉🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈🏳️‍🌈

-but on a serious note for that thought, I'm so fucking happy that we got to have this. these two complex, beautiful, awful amazing women who are unapologetically queer and finally get their shit together to realise, the world isn't gonna wait for us, let's have sex, let's enjoy it. the fumble that vi makes with caits fancy belt, the delicate and healing way that cait holds and undresses vi, the full shot of vi's back tattoo, the fact that they can't keep their hands off each other and can't stop smiling! fuck! this was everything to me if you couldn't tell. also so much appreciation to the fact that this scene is an exact parallel to their first meeting!

-yes Mel get it with your sexy golden magic. I can't wait for the spin off series that will come from thus show cus I think it'll explore the black Rose and noxus war and I can't wait to see more of them!

-cait fighting desperate and dirty while still being so smart you have my heart (also cait with an eyepatch, fuccckkkkkkkkkk

-Maddie's betrayal lol, and the thanks for the warmth, bitch what warmth, cait was so mean to you even when you were sleeping together 😂

-the alternate reality???? oughh, oug oww, I need to lie down and cry for a whole week about that. everyone being alive except vi??? that shit hurted. also, domestic and therapised powder was everything I didn't know I needed and I'm so glad that when ekko figured out the anomaly that that timelines ekko came back to her. timebomb so cannon (also adore ekko for this entire act, every single second of it)

-jayvik mutual destruction is so them actually, and I'm glad they were together in the end. also sorcerer older vik had to be my favourite of his character designs. he looks so soft and at peace

-ambessas death is really not something I though we would see, or at least not in the way that it happened. but it's almost bitter-sweet that her death was nesacary for Mel to graduate to wolf in her eyes

-look, heimerdingers sacrifice was cute and heartfelt, but I really didn't have any attachment to the guy and was just glad that ekko made it home. very cute little song though

-Jinx is fucking dead and I hate it. yes it was in character, she did her one last good thing and just wanted to rest, but damn why did it have to be like that , but on the other hand, it leaves open the spot for powder to take hold of the narrative, because don't think I didn't see those hextech gems girl. she is everything to me and I really hope she's apart of whatever story comes next (I'm praying that powder gets to see vi all grown up, and that her older sister is okay, and that vi gets to see powder, the girl she might have been, and also that vi can see her brothers all grown up) (but that's all just wishful thinking)

-btw!! I always had faith in the writers. I love how this season came out on the full. it's absolutely amazing to me how they have managed to create on of if not the highest quality animated TV show ever. it was admittedly rushed, and I would have loved to see all these plot threads tugged at thoroughly before being tied up, but I still think what we got was a masterpiece

-jayce I did not like you in season one but I loved you in season two, and I held out hope that we would see why you did what you did, and it was so fucking perfect I would like to kick all of the jayce haters, just a little in the shins

-back to Jinx, it was genuinely so heartbreaking to see her catatonic over the loss of Isha and I hope they're together again now

-final form (herald) vik was pretty cool I like how it looked compared to his LoL design

-cait and Mel team up was something I didn't know I needed but damn it was good. the gays and girl kissers were eating well this weekend

-the animation of powder and ekko dancing? think I'll just go cry for another week for that alone, and their kiss!!??!? screaming crying

okay that's all I can think of for now. I may post more, I may not. I will absolutely be reposting like crazy though. agree or disagree with me, I want to hear your thoughts!

[kemendin]

Kem's non-spoilery/non-plot-related impressions on Veilguard:

Now that I finished a first run, I want to just put some thoughts out there - basically likes/dislikes sort of thing. So here we go! In no particular order:

Likes:

This is very subjective of course, but to me it just FEELS like Dragon Age. It's nostalgic in the vibes and mechanics while also being fresh.

Hair physics!! Me gleefully watching my boy's ponytail flipping around like 'yessss gooood'. Every game needs this imo xD

Companions: While I'm personally not going feral over any of them, I do LIKE them all, which is unusual for me. I love the shouted encouragement in combat, and how they move around the Lighthouse and have little snippets of conversations with each other (wish we got MORE of this).

I adore the environments and maps. I love exploring new places in Thedas, they're all so gorgeously detailed, and I love the LAYERS of them. The exploration feels very Assassin's Creed, which is fun for me. Docktown is my favourite I think, but Arlathan and the Crossroads are also stunning.

I'm a sucker for the elven relic puzzles, they make me happy!

Combat: It took a while for me to adjust, particularly coming from BG3 where I had time to deliberate my decisions. But once I got into the rhythm of it, I now find Veilguard combat quite fun. (I played as a sword and shield warrior this first run, I'm excited to see what a mage feels like next time around)

PHOTOMODE!!! At least a third of my playtime has definitely been spent taking screenshots. It has almost everything I want - camera angles, depth of field, field of view. SO MANY SCREENSHOTS! (1800 at last count)

Dislikes:

Save system. Generous auto-saves are great, but I hate how you get bumped to the nearest beacon when you load in, rather than where you actually left off. Also I'm a save scummer so 100 manual saves is not enough lol.

Main menu being the only functional 'pause' button is irritating, especially when trying to get into photomode.

Armour/outfit stuff. I'm sorry but most of the designs are terrible. TERRIBLE. Also there's no dye/tint system, at least Inquisition had SOMETHING to that effect.

Pacing. I feel like the stories in the game had so many good notes, but it felt.... disjointed, like it was just hitting the main beats rather than creating a cohesive narrative flow. Across the board, it felt rushed and shallow in that respect. Also (and maybe this is just a me thing) it felt really difficult to get a handle on the passage of time throughout the game.

Ambivalent: The character creator. Lots of great sliders and options, but also I kinda hate the 'mash three heads together' thing, and I don't know why we need 50 styles of eyelashes instead of, I dunno, more hair options? (also - body hair. Needs body hair)

I may add to this as more thoughts occur, but for now that's what I've got. Overall impression - positive! I had a great time and I'll be replaying for sure.

[wistfulpoltergeist]

I opened Baldur's Gate 3. Created my Sims 4 characters. Closed Baldur's Gate 3.

[poorly-drawn-mdzs]

Happy one year anniversary to In Stars and Time!

[optiwashere]

Huh, I didn't even realize it'd been a year since BG3 came out until I opened tumblr this morning. Kinda wild. I didn't think much of the game's release: I like Larian's games, and I like the BG series. I wasn't ever going to skip the game, but I didn't think I'd play it at launch because I was busy working on a novel in 2023 and not doing well financially.

Thankfully, circumstances left me with a little bit of extra money last year just before launch and it meant I could spend on a video game. I needed a pick-me-up after said 2023 novel failed to go anywhere, and BG3 was right there. Like most CRPGs, I played it in basically every moment of free time that I had and did as much as I possibly could in one playthrough.

It's so odd how these small happenstances can snowball into coming back to fandom, finding some friends I might've never met otherwise, and writing a lot of fanfiction along the way. I'll probably have something more interesting to say/share when it's the 14th, AKA when I sat down and wrote my first fic for this fandom.

Anyways, it's been a lot of fun and I'm looking forward to more years to come 💜

[kaidanalenkosprmanager]

THE BEST OF SHENKO 1/?

The end of the world has a way of reminding you of all the things you forgot to say do. Mass Effect: Legendary Edition (2021)

[crossbackpoke-check]

find a blorbo (nhl tag game)

RULES: Go through the roster of each NHL team and find at least one player that you can root for.

tagged by @bondedpairs!! when i say too many teams to count and here for the narrative um. i may not have lied. this is not an extensive list of my blorbos but in order to make it not ten thousand years long i made up the rule that i had to do it straight from memory :)

anaheim ducks: as evidenced by recent events i DO like mason mctavish and trevor zegras but i have to honor laura and mention troy terry and beloved goalie gibbie*

boston bruins: oh for sure brad marchand… can i say patrice? one of the charlies got traded but i think mcavoy is still there because gryz is gone, brandon carlo is there still i think

buffalo sabres: cozens & thompson, owen power, rasmus dahlin, ukko pekka luukkonen

calgary flames: is chris tanev still here? is markstrom still here?? noah hanifin?? as a last resort i’ll say blasty

carolina hurricanes: aho & jarvy & teuvo teravainen & brent burns is still playing maybe? i know sepe got traded

chicago hockey: the bedsy narrative is compelling but ANDREAS ATHANASIOU MY BELOVED reunited with tyler bertuzzi… that’s the real story. also i like foligno

colorado avalanche: gabe landeskog, whatever ross colton & miles wood have going on, natemac + jo, mikko

columbus blue jackets: have long been on the merzlikins train, have been swayed to the darkside of umich boys (brindley, kent johnson, fantilli, blankenburg who is now on nsh)

dallas stars: seggy! mush! roope + miro and otter and robo and wyjo (rip ty dellandrea) and harls! etc.

detroit red wings: MOST players. dilly larks, moritz seider, jv, raymond, rasmussen, kitty, lyon, etc except for k*ne

edmonton oilers: mcdrai, ofc. nugent-hopkins, nursey, rip vinny & skinny

florida panthers: tkachuk, reinhardt, sasha barkov, verhaeghe (is there still?)

los angeles kings: adrian kempe… kevin fiala… danault… quinton byfield & alex turcotte

minnesota wild: kirill, marat, fleury, brodes, fabes, boldy, moose, middsy, spurge… god’s perfect idiots

montreal canadiens: going out on a limb here to say martin st. louis but also xhekaj (both), slafkovský, suzuki, my austrian reinbacher, yes fine cole caufield

nashville predators: MOST BEAUTIFUL D PAIR IN THE WORLD GRADY SKJEI AND ROMAN JOSI!! juuse, evangelista, isn’t stamkos there and also someone else who absolutely should not be

new jersey devils: nico… tuna (tatar), dawson mercer, siegenthaler, dougie hamilton, yes the hugheses whatever

new york islanders: barzy, zeeker & marty, anders lee, noah dobson lol

new york rangers: mika & chris, lafrenière & k’andre, shesterkin

philadelphia flyers: frosty & beezer and tk and sanny and the new baby michkov and coots and scooty loots and foerster etc etc. you know the Guys

pittsburgh penguins: the two headed monster but also compelled by rutger mcgroarty, and kevin hayes was there!!!

ottawa senators: timmy stü & brady! josh norris! the evolution of shane pinto! ullmark now and brännström and claude giroux and chabot

san jose sharks: ekky, thrun, mario, borde, logan couture, shakir, that other vaguely blond rookie

seattle kraken: brandon tanev, andre burakovsky! grubauer & d’accord also

st. louis blues: jordan kyrou, nathan walker (is still there?), rob thomas? is parayako still there?

tampa bay lightning: hedman, point, they dumped so many guys after the cup run… is kucherov still there or is he in nashville?? anthony cirelli (notable for being made out with by pat maroon)

toronto maple leafs: mitch, jt, willy, alex nylander, kniesy, dewar, et

utah hockey: crouse, keller, tuba

vancouver canucks: quinn, brock, petey, jt, garly, höggy, i want to say dakota johnson, elias lindholm?

vegas golden knights: brandon montour is here now… alex pietrangelo, so sorry to one i can’t remember who loves the lions it will come back to me

washington capitals: full of love and stupidity. oshie, nicke/ovi, pierre-luc dubois, dowd, vrána, milano

winnipeg jets: adam lowry!! josh morissey and kc and morgan barron, also vladdy my beloved

tagging @stillfertile + @colap1nto + @songsandswords + @moregraceful if they haven’t done it yet, i know they follow at least a couple teams. if anybody else wants to play i love adopting blorbos!!

[goldentigerfestival]

Since I'd been talking a lot about JP Vesperia (primarily Yuri and Flynn and the heavy changes that surround them, and because I'm highly passionate about them in their original context), I wanted to compile some more jarring if not outright glaring mistakes in the localization (or what were likely intentional changes, because I can't look at some of these and just call them "mistakes"). I'm not going to mention every little change throughout the game, so smaller things I'll mostly be leaving out (namely things that don't really affect characters or context). I primarily just wanted to give some insight on some of the bigger parts.

Some of the changes seem to have been mistakes in translation itself (not just localization, but misunderstanding what was being said in general; such as, there's an instance I mention of that between Patty and Don), so I've got some mentions hanging around for clarity purposes as some scenes didn't make much sense, likely because of this.

Vocal tone with Yuri was the most prominent issue that got me making this, and the context that was changed being right after if not equally next to that (most often also with Yuri but also Flynn).

This is something that has been bothering me for a while and I've been wanting to share this stuff with people interested in seeing the game with its original context. Generally speaking, the plot and story themselves are on point. The majority of the differences surround Yuri and Flynn respectively, so there's going to be a lot of mention of them throughout.

I've also posted video clips of my favorite scenes and the heavy changes, so consider those a supplement to this and vice versa.

Part 2.

Part 3.

Part 4.

(Other) GTF Favorites.

I'd like to preface this by mentioning the chief director and producer of the game itself has also spoken about localization inaccuracy issues, so that's something to keep in mind (it's in Japanese, but you should be able to use the offered post translator).

I'd also like to preface this by mentioning that in the original, Yuri is more playful and relaxed/casual (generally but including with Flynn, which the dub pretty much entirely changed until arc 3), but also gentler and softer. He has a very large variety of tonal behaviors/tonal "moods" that were pretty much nuked from the dub.

Basically, to get the full experience for Yuri, I can only really recommend playing the game in JP audio. Obviously you won't get the actual context because all you'll have is the dub context, but that's also partly why I'm making these posts - to cover the contextual changes while the video clips cover some of the tonal changes (because lbh I don't expect anyone to actually go watch the entire game in JP with subtitles unless you're as insanely dedicated as I am, and I'm largely doing it out of my love for the original Yuri and Flynn and my disdain for how the localization treated them).

As a heads up, there won't be many skits in here because I'm going through a specific YT playthrough for these screenshots. Specific skits won't always come up in the playthrough in question, and I can't find a whole list of skits in JP anywhere online. I don't have all skits unlocked in my own save either yet (you can unlock all skits with Grade which I have yet to do in the DE), so I can't use that to compare all skits right now.

There are plenty of small changes here and there that I won't be including in these posts because there are some sentence changes that aren't impactful but do exist. I just don't want to be here for a year covering the random changes that don't matter much. I'm also not going to include details of a lot of honorifics because I'd be here all day, but there is one one major instance that I mention later on.

For reference if anything wants to actually watch the game in JP with the subs (it goes until just after Hypionia), most of the references come from here. Since in some cases the subber just reused localized text even when the context wasn't the same, I did bring some of those up in these posts too. These were subbed before the DE version came out. I used screenshots with subs where possible to make it easier to follow along.

I have a lot of passion for JP Yuri and I hope I can pass on some of that passion to others. 🙏

Apologies in advance if some of these sound cranky. If I sound cranky about some specific changes, it's probably because I am.

---

Since I talked about the whole, Raven being shady and Yuri therefore not being grateful to him incident that the localization for some reason butchered and made Yuri sound like a generally ungrateful or just outright dumb person who doesn't understand gratitude, I'll summarize that one again here:

Yuri has a skit with Estelle originally talking about how he can't find himself being grateful to someone like Raven for showing him how to sneak out of the castle. Basically, Raven is shady and he's not sure he should be grateful to someone like that, and is confused as to why Estelle would be so grateful when she doesn't even know him (because in his mind, he isn't sure he wants to trust a guy with those vibes). The dub just kinda... makes him sound like an ungrateful jerk and not so much because he's not sure he wants to trust Raven. It doesn't really sound like it's an issue of his with Raven specifically but more that he just generally doesn't feel grateful for the aid (and that in general one shouldn't feel grateful for aid like this), which gives off a really wrong impression of him that doesn't hold up throughout the game. Yuri wasn't wholly ungrateful for the gesture itself, but because of who it came from (and I imagine a weird peppy guy in jail is good cause to be skeptical).

We start off we a classic "Yuri, you idiot!" that was changed to "come on already!".

Yuri's response to Estelle mentioning he'd been in the knights doesn't actually give a time frame for how long he'd been there (the dub made up three months, but there was never originally even a time frame given).

Here when Yuri asks Estelle why she can't just leave, her response indicates she actually does know why. The dub made it more ambiguous, which could be easily misinterpreted as she really doesn't know, so I'm dropping this one here.

For some reason the localization seemed to have Estelle responding to Karol directly about the ace always performing their attack last ("I don't think so"). What she was referring to was the tiny monster that walked by, asking for confirmation that that monster was not the eggbear they were looking for (I wasn't gonna fight with the video to get a better screenshot without the annoying YT red bar in the way so the monster is in the corner mid-movement lol). Not sure if that was a genuine mistake, but it was an odd one.

(Also, side note and not putting an image here because it's more general, but Yuri refers to Karol as "Karol-sensei" which was translated in the localization to "Captain Karol". Basically, Yuri calls him "sensei" because that's a teacher/professor, and he's making a play on Karol's knowledge and being their "teacher" about monsters/maps/etc.)

I'd say this is more along the lines of overexaggerating and not overreacting, but this line was literally changed to "haha" in the dub. The whole point wasn't that Yuri just brushed her comment off or found it funny. At this point he still literally thinks she's exaggerating about her lack of knowledge out in the world, her excitement, etc.

Not the only instance you'll find of the dub just changing entire sentences to something meaningless as if they ??? didn't know what it meant (they actually changed Patty saying an entire sentence to "aye"). In some cases they added entire sentences that weren't even there...

Even though I can kind of see where they went with the dub here, the point was supposed to be that Flynn actively thought he would be happy for Yuri to go outside the barrier and see the world.

The dub changed this to Flynn saying that he, in the now, is happy that Yuri is outside the barrier, but then says he got a little less happy when he saw the wanted poster, indicating he was previously happy but got less happy, yet says in that moment that he is happy.

It's a weird case of (past/present) tense usage for the most part, but they also removed the fact that Flynn is literally saying "I thought I would be happy" (thus expressing he'd been wanting Yuri to see the world outside the barrier and would've been happy to find out he did). The reason he's not finding himself happy is because of the wanted poster and the crimes listed on it, following up that his honest happiness for Yuri (ultimately because of the poster) was a lie.

This also means they removed Flynn expressing the honesty of his happiness for a positive concept for Yuri, which, given all the changes toward Flynn in the dub, already now takes away from the fact that he'd been actively hoping for good things for someone and we're left with this more sarcastic take on him being "happy".

Obviously his happiness wasn't really a lie because most of the crimes were falsified (primarily the ones that would make him actually mad, because Flynn has had to have been aware this whole time that Yuri has committed small time crimes for the past few years now), but at the time, the focus on this conversation is that Flynn thought he'd be happy at a time that Yuri left the barrier; meaning he'd been hoping for it prior to it happening.

I'm also mentioning it because it's the very first in a whole line of changes the dub made to their relationship (and it's their first in game interaction ffs) and to Flynn himself as he's perceived as a character. The original is much more expressive of how important they are to each other in a lot of various ways.

Inserting the JP audio version of the following scene with Flynn here.

And... the following one from there.

This was changed to "damn, we if lose our balance...". I know they did it because Yuri had just fallen over, but I'm including this one because the context isn't... really the same thing?

This dub change is a bit odd to me. They had him saying something along the lines of "she is a princess after all" in the dub, regarding the council backing her.

The original context is more like, the council is backing her and he's hearing it directly from Ioder and he probably doubts Ioder would lie like that or about that, cementing that yes, she truly is, like he suspected, a princess, but it's almost still a bit odd to know. It's sort of like, he knew/had suspicions but hearing it directly from Ioder just confirms it for certain.

The dub just made it sound like well yeah, it's obvious they'd want to back her, she's a princess... but Ioder is a prince, so that doesn't explain why they're not backing him. She is a princess after all, so of course they'd back her... but what's stopping them from backing the prince?

Another weird one for me. In the dub Yuri says that "even the Commandant was a little in over his head", when he actually... really wasn't? All he did was step in. Things got bad enough that he had to, but he wasn't in over his head. Not sure how or why the dub ended up with that.

An example of the dub having a habit of just adding in random lines that didn't actually exist (and in this case the one added didn't even contextually make sense. This was no thank you from him, this was literally him making Yuri do something for him because he was going to ask Flynn for a favor and ended up with Yuri in the cell instead).

Another super weird one in the dub. They had Yuri saying Flynn was "too" late, implying he hadn't made it in time, but he did. He made it just before the battle started, but the original context only says he's late, not too late (which makes sense given that they were ready to fight but hadn't started yet).

This was changed to Yuri just mentioning there was one way they could get out of there without actually saying what it was, and Judith saying if he thinks it might work what's the harm in trying it out. Not sure why they changed Yuri literally telling her his plan, so... again, a super weird change that I don't get why they didn't just keep the context the way it was.

Third image was changed to "someone get me away from this psycho", which... I also don't get why they put that there unless they just wanted so much flavor text that they wanted to change the whole "they're in a fight and he's telling her not to come over here because he's pissed at her because they're fighting" part of the fake fight they had going on.

Not one I have a huge problem with, but definitely good examples of them going out of their way to change just... perfectly normal stuff that literally has no reason to be changed? Some of it is flavor text and some of it feels over the top for me. Stuff that makes me like... why would you change that when there was no reason to? Could be more of a personal pet peeve of mine, but I just don't like unnecessary changes when there was nothing wrong or odd about the original text and doesn't at all come off odd in English. Unfortunately Vesperia got littered with those.

I didn't feel like getting a whole video for this, but basically Judith gives a little laugh instead of just the more upset/distressed(?) sound she made in the dub. Feels more fitting imo to keep up the "lie" Yuri started for her. The dub makes it seem more like she feels guilty, versus here she's giving a little forced giggle to go along with it. Again, a change I'm not sure why they put in.

Ngl I get completely different vibes from these. The JP comes across more as concern, rather than... treating them like they're some mob on the loose...?

Once again, this gives off negative vibes toward Flynn as a character imo.

Here Judith gives more of a reason for coming with them, which they changed in the dub to "with the circumstances being what they are, this is just how things turned out". Reasonably, she didn't have to stick around after they ran from Dahngrest, but here she gives a quick "reason".

The dub changed this to "I'll bet he is". They were just told he's the current magistrate in Heliord, and all Yuri says here expresses he's letting it sink in and realizing exactly why all this is happening here. It's not a huge story beat or anything that gets changed, but it's an example of changing things that don't need to be changed as if trying to play things up in a way that... doesn't feel necessary to me? In this case the situation is kind of dawning on Yuri as he realizes how bad this situation could be/why it's like it is, but in the dub it comes across as more just unimpressed and "of course he'd do that".

An unfortunate, classic moment of them changing how much Yuri believes in and trusts Flynn. They changed this to "gotta run, Flynn!" and he just... leaves. I'm sorry but in what universe does "leave the rest to you" equal "gotta run"???

This one is one of those cases where the localization text was super awkward and wonky, and worse, they actually voiced it that way (like "we have guild's job to deal with". Yes, they actually voiced it that way too on top of everything else grammatically wonky with the entire conversation that they didn't bother fixing when the DE came out).

Also here, they changed what Yuri says about Cumore and Flynn. "I don't know how I could explain this to Flynn" doesn't, at least to me, carry the same weight as Yuri actually feeling ashamed (in the dub he says "what a shame", but does not express shame, versus him saying "how pathetic" and expressing shame in feeling pathetic) and saying he can't even face Flynn because Cumore got away. The thing is, Yuri does tend to posture, so when he fails at something, it hits him pretty hard.

And let's be honest, this just hits way harder than "he will get what he deserves".

Interestingly, Yuri could also fall into the category of viewing himself as sinful later on, which I talk about in my favorites post and the usage of "crime" and "sin" within the JP context.

Not particularly important, but just another (more mild) case and example of how the dub just randomly changed tone/mood/wording for no reason.

Another case of Yuri being more aggressive in the dub than he actually was. Here, all he says is just a plain statement. In the dub, he has an attitude about it and says it in a tone that's more insulting that Ioder didn't know about Heracles.

This isn't the only case of dub Yuri acting aggressively toward Ioder when he wasn't supposed to be and we'll get to that, but Ioder is another similar case of the dub making Yuri unnecessarily vocally rude (despite that Ioder is very polite toward Yuri).

(I left out the subtitles because all they did was copy the dub's localization, which kinda defeats the point of this post LOL. This will be the case going forward for any same circumstances.)

This one's a more interesting tidbit to me and less of a harmful change (i.e. I find that a lot of if not most changes relative to Flynn do more harm than good when compared with the original context). Basically it's saying "sweet mask and sharp eyes", implying Flynn's sweet face is a mask and saying it contrasts with his sharp eyes. I could get into a whole rant about why I love that in relation to some side material, but even in the game itself, there's the knight Flynn with his sweet, polite side and his real side that only shows when he's around Yuri (basically, who Flynn has to be for his job and who he actually is as a person, which he only gets to be around someone who knows the real him).

I'd guess this got changed in the dub because they weren't sure how to word it, though there's no mention of "heartthrob" here at all and instead actually says "sweet mask" as if, again, to say his sweetness is just a mask. It's actually a very interestingly accurate representation of his character - how he tends to not be himself when he's being "knight Flynn", and how that sweet face is contrasted by the look in his eyes (which they say, you know, eyes are the windows to the soul, so this would imply the sweet face is the mask and the eyes are the real Flynn. And of course, this Flynn is implied to show himself in his sparring with Yuri in Aurnion, where sword fighting is the best way to express himself. This isn't to say Flynn being a nice person in and of itself is a lie, but that his overly polite, respectful, kind knight side is a sweet mask contrasted to the man who loves to fight and has a sharp look in his eyes)

For now, we'll be back at Mantaic in the next post (due to image per post limit).