#Will not be exploring that tag ever again

[loulovingho]

I 100% agree with you that that was lazy writing. What was the point of deliberately picking someone the audience (and the 118) were familiar with to be Buck's LI when they could have picked some random. What was the point in delving into Tommy's history and his feelings, what was the point of showing him head over heels for Buck in the last ep, of getting a gift for their 6 month anniversary only to say "oh well, I figured we wouldn't last, so I'm gonna get out now before you break my heart". Why let him get that involved if Tommy's ideology was to never allow himself to move forward in the relationship because ultimately he thought it wouldn't last? It's whiplash for the audience after you saw how INVESTED Tommy was in the last ep! And how exactly is this Buck getting off the hamster wheel? This relationship has ended pretty much exactly like all his others - he gets invested, they leave! They had so much potential as a couple - seeing what it's like for two fire-fighters to date knowing they're both in risky jobs, maybe Buck having to meet/deal with Tommy's homophobic father, getting to explore a "new" character's back story instead of rehashing the same story lines from the mains as well as seeing more of how Buck deals with being in a same sex relationship. All wasted.

And since they referenced Glee, if the plan is for it to echo the Kurt/Blaine relationship in that show where they broke up so they could "explore" before getting back together, by doing so they ruined that relationship so much that by the end it wasn't satisfying that they WERE endgame - they weren't the couple we fell in love with. (And also, way to reinforce the negative stereotype of "you can't ever be long term with your first". I should let my sister, my cousin and my aunt know even though they've all been married for years to their husbands - all their first.) Even if they do decide to bring Tommy back down the line, would it even be the same relationship we fell in love with? Would we even trust the writers to stick with it and treat it well? Or if they did a final episode reunion so Buck doesn't end the series alone, how is that satisfying for the audience?

I have been watching 911 since it started, and I have always been part of the general audience up until S7 where I joined the fandom because I thought Buck/Tommy were adorable. It's the first time in years I've become invested in a couple on a show. It's the first time in years that I've dipped my toes back into a fandom. Like you, this ship inspired me to write fic again. I have a bunch of wip's waiting to be posted on ao3 and I honestly don't know if I'll finish them now. And if they have broken them up for Buddie to get together I think I'll stop watching. And not just because I never saw them as a romantic couple (I only ever saw a deep friendship) but because logistically I don't see it working. Besides the fact that I think that while they work as friends, they probably wouldn't gel as a couple, two people on the same team in a relationship? That will screw up the 118 dynamic, especially as this show looooves relationship drama. If they get in a fight, or worse, break up, then what? How would that work within the 118, unless someone transfers out, but then it's bye bye the 118 we love. And not to mention, in the only 4 months I have been in this fandom I have seen some VILE crap from the buddies, and from what I understand it they've been like that for years. And the show runners know about it, so if they go with Buddie, congratulations, you've rewarded toxic behaviour and given them a license to be worse (look at them already, going in the bucktommy tags and gloating).

I told myself after Glee ended and they royally screwed everything up that I wouldn't watch another Ryan Murphy show because he has a history of doing that sort of thing. When 911 came along I was cautious, but it looked like it would be different - more grown up if you will, especially since Ryan Murphy hasn't really been involved since season 1. I should have just gone with my gut. I just hope that, knowing these last two eps were filmed weeks before they aired, the showrunners see how popular they were and realise crap, we've made a BIG mistake. (Everyone should flood instagram and especially Facebook, whoch is more GA than most social media platforms, with RESPECTFUL comments about how devastated they are, and who knows, it might make them consider bringing Tommy back sometime in 8b - I believe they're still writing the back half of the season.)

Side note, I feel really sorry for Lou. Yeah he's going back to SWAT, and I love him in that (even though his character can be a dick sometimes) but he's said in interviews how he's tired of always being cast as "the muscle" due to his size and he seemed genuinely happy to get this role, which was exactly what he was looking for - the sweet, caring, romantic love interest role where he could show some depth, and they screwed him over (sounds like he even thought Buck and Tommy were doing well and wasn't expecting the break up until the end).

(Apologies for the long rant. But what you've been saying really resonated with me and I needed to share your sentiments.)

.

[thatonegaybrit]

; * looks up transmasculine Donatello on Ao3 because I'm curious and also yes my fav character has to be exactly me what about it !? * ... Oh. 😟

[codecicle]

Heard this guy made A Tribute to Minecraft (and loves cod, tekkit, and dayz. those are lamer though)

[withthewindinherfootsteps]

So we know that Wei Wuxian's treatment after his death was horrible. Even if nothing could impact him directly, there was still neverending slander, hatred, misinformation, theft...

But, for a while after he died, the sects did try to impact him directly – namely, frequently trying to resummon his soul. And today I'll explore the possible reasons for this, their likelihoods, and why I'm so, so thankful that Wei Wuxian's soul managed to resist the summons. Because, spoiler alert (or, you know. maybe not)... none of them are good.

(Long meta ahead)

In my opinion, there are four likely motivations for this: confinement, coercion, torment, and potentially destruction.

Out of all of these, confinement is probably the most likely motivation, at least for most sects (Jins and Jiangs excluded, though it was likely what the Jin sect said their motivations were – but I'll get to them later). This one is the most simple – we know spirit-trapping pouches exist, and we know the sects also placed 120 stone beasts on the Burial Mounds to prevent Wei Wuxian's soul from escaping. Therefore, this seems to be the most likely motivation – and fortunately for Wei Wuxian, probably also the best case scenario, though it still certainly isn't a good one.

For the second, coercion – this is where the Jin sect come in (more specifically Jin Guangshan with the help of Jin Guangyao). Due to their wealth and resources, they're likely the sect who played the largest role in the soul-summoning rituals. We know what they're willing to do to try to gain power – keeping Wen Ning under the pretence he was burned to death and trying to control him with the nails, and working with and helping Xue Yang torture people to help him refine his demonic cultivation, in order to have the Yin hufu fixed. Along with working with many other cultivators, alongside Xue Yang – Jin Guangshan really, really wanted that seal.

And so, Jin GuangShan sought after all those who imitated Wei WuXian in cultivating the ghostly path and gathered them under his rule. He spent a great amount of money and resources and these people, ordering them to study and analyze the structure of the Tiger Seal in secrecy so that they could replicate and restore it. - Villainous Friends extra, EXR

(Note that working with these cultivators very likely happened after Wei Wuxian's soul had failed to be summoned, since this happens some time after Wei Wuxian's death, whereas the soul-summoning ceromonies presumably started happening very close to it.)

In the previous paragraph, he's also quoted as having 'lusted after' the Yin hufu, which we already knew but it's nice to have a direct quote as evidence.

Now, would Wei WuXian willingly work with the Jin sect in doing this? No. We know that, and, given Wei Wuxian's actions in his first life (refusing to hand over the Tally, not being afraid to stand up to the sects, etc), I’m pretty sure Jin Guangshan knows that, too:

He beat around the bush a couple of times, using all his skills, yet Wei WuXian didn’t give in no matter what, and it made him run into a bunch of obstacles. - Villainous Friends extra, EXR

So this could actually make things go two ways. One, I'm wrong and that wasn't actually part of the Jin sect's motivations, since they know they wouldn't be able to control him (and in that case, had they managed to summon him, I could imagine them putting him in a spirit-trapping pouch and doing something similar to what Jin Guangyao did to Nie Mingjue's head. Which, also, not good). Two, it was a part of their motivations, and they hoped to find a way around that. After all, there are other guidao users out there now, and Wei Wuxian would now be a gui*. Also, cultivators can obviously harm ghosts – see the very existence of Night Hunts, and I'd include Xue Yang's talisman-caused destruction of A-Qing as well (while he isn't a traditional cultivator, talismans can be used by everyone).

Now, would either of these methods actually work? I'm inclined to think not really (and I expand on the former method in a note below). Would that stop Jin Guangshan/Jin Guangyao/the cultivators they employ from trying? Especially considering Jin Guangshan's lust for power?

I'm inclined to think no, too.

For the third, look no further than Jiang Cheng's reputation of capturing and torturing demonic cultivators after Wei Wuxian's death, due to thinking they could be him. And this does happen – Jin Ling knows and talks about it, and there's not real motivation for him to negatively lie about someone he loves. Also, when they come across each other at Dafan Mountain, we're told this in Jiang Cheng's inner voice:

A moment ago, Jiang Cheng was certain that this person was Wei WuXian, and all of the blood in his body started to boil. Yet, now, Zidian was clearly telling him that he wasn’t. Zidian definitely wouldn’t deceive him or make a mistake, so he quickly calmed himself and thought, this doesn’t mean anything. I should first find an excuse to take him back and use every possible method to get information out of him. It’s impossible for him to not confess anything or give himself away. I’ve done things like this in the past anyways. - MDZS Chapter 10, EXR translation

This mainly shows that he's tortured people before, rather than that he's tortured people because he thinks they're Wei Wuxian, but this reason is confirmed by Jin Ling in Chapter 24. Of course, the reason is also mentioned in this chapter, and there are other moments in the chapter that illustrate my point better**, but they come from second-hand sources which I know are easier to deny. Do take note of Jiang Cheng's expression both times he comes across 'Mo Xuanyu' (after he suspects he's Wei Wuxian) in Book One***, though:

After a moment, the corners of Jiang Cheng’s lips pulled into a twisted smile. His left hand started to unconsciously stroke the ring [Zidian] again. He spoke softly, “… Well, well. So you’re back?” - Chapter 10, EXR Although his face had always been clouded, marked with arrogance and satire, it seemed as if every corner of it had come alive. It was difficult to determine whether it was vengeful wrath, fathomless hatred, or raving ecstasy. - Chapter 23, EXR

This does seem to line up with what people say his attitude to Wei Wuxian is – there doesn't seem to be any happiness at seeing him again at all. The only time a word that could suggest that ('ecstasy') is used, it's accompanied by 'raving', and considering the context and the other possibilities of his expression, it's... probably not due to happiness at being reunited.

So, considering 1) this, 2) his contribution to the Siege specifically intended to kill Wei Wuxian, and 3) that at the time of frequent soul-summoning Jiang Yanli's death would be even closer for him, I feel pretty confident in saying that yes, this is likely a motivation for the Jiang sect in trying to re-summon Wei Wuxian's soul after his death. And, as mentioned earlier, cultivators can harm ghosts (and we know Zidian is able to remove souls posessing a body from that body, and that Jiang Cheng used Zidian on 'Mo Xuanyu' in Chapter 10. If it wasn't able to restrain/harm ghosts, or other methods weren't able to, why would he risk Wei Wuxian's soul escaping?).

And finally, option four: destruction. We're heading into much more speculative territory here, so don't consider this on par with the first three. But consider this:

We know there are some spells, like Xue Yang's talisman used on A-Qing and the body-offering ritual, that can ruin the returning soul’s reincarnation cycle by destroying it. Therefore, soul destruction is possible.

The 'main'/supposed reason for summoning Wei Wuxian's soul back is to stop the "cultivation world, or even all of mortal land" from being "faced with the most insane damnation and revenge, sinking into nothing but chaos and despair" when Wei Wuxian inevitably returns. While, as mentioned above, I severely doubt this is the motivation for certain sects – and to me is likely a rumour which the Jins (again, especially Jin Guangsha) fanned the flames of to justify summoning Wei Wuxian back for their own purposes**** – there are other sects which would take it more seriously.

Although likely disrespectful, people already thought it served Wei Wuxian right to die without his body intact by the time of the second siege – something believed to negatively affect your reincarnation in your next life*****. This is only the logical next step, and I'm pretty sure the vast majority of people would believe that, again, it would serve Wei Wuxian right, or would at least lead to less harm of the world in the long run.

For these reasons, I could definitely see this as an option for some sects, especially the sects who consider themselves more 'righteous' (cough cough the Nies under Nie Mingjue cough cough). After all, evil is evil and good is good, and the evil deserve what's coming to them. And what better way to prevent that than from preventing his soul from returning at all? So for the Nie sect – and likely some of the smaller sects involved in the Siege, since among them, additudes probably vary – yes, I do think it could be a motivation.

I’m not as sure about the Lans being willing to go this far, and that’s largely for two reasons. One, Lan Wangji’s presence and his relationship to Lan Xichen, who does (not always, but he does) let this affect how he treats Wei Wuxian. An example of this is that, when Wei Wuxian's return is made public, Lan Xichen does let him hide and shelter at the Cloud Recesses instead of trying to pursue him, likely majorly due to Lan Wangji. I'd argue that the aftermath of the Nightless City also acts as an example of this, although it definitely isn't perfect. But though he, Lan Qiren and the 33 elders do come to find Lan Wangji and do not let him continue to shelter Wei Wuxian (after they see Lan Wangji's feelings), Lan Xichen doesn't use this opportunity to kill/capture Wei Wuxian, despite Lan Wangji being in a worse condition due to having fought 33 elders, Wei Wuxian being catatonic, and Lan Qiren likely supporting this outcome (especially considering he was the one who led the Lan sect in the Siege – chapter 68, Wei Wuxian's POV). And he did let Lan Wangji take Wei Wuxian back to the Burial Mounds after:

After he went out of his way to send you back to Burial Mound and returned in such low spirits to receive his punishment, how long he kneeled before the Wall of Rules! - Chapter 99, EXR

Again, this was right after the Nightless City massacre – there isn't any goodwill towards Wei Wuxian at this point in time.

Of course, the Lan sect did participate in the siege after Lan Xichen knew of Lan Wangji's feelings towards Wei Wuxian, which Lan Xichen was no doubt a part of (although Lan Qiren lead the Lan sect in the siege, Lan XIchen had to have at least known/given his support, if not participated.) And it should be considered that Lan Xichen letting Wei Wuxian shelter at the Cloud Recesses was after Wei Wuxian had been back for a while, and had not caused the downfall of the Cultivation World, like many suspected he would after his death. And of course, as stated previously, his handling of the aftermath of Nightless City wasn't perfect either (though please note that his main motive here was to protect Lan Wangji from being potentially executed, rather than anything about Wei Wuxian himself). So caring about Lan Wangji doesn't mean he won't harm Wei Wuxian. But I do think he could find bringing Wei Wuxian's soul back to completely destroy it a bit excessive. There is, though, the chance that the elders of the Lan Sect would react to this differently, and of course they would have a sway on both Lan Xichen and the Lan sect as well.

The second reason is smaller, but there seems to be more focus in the Lan sect than in others when it comes to letting ghosts rest peacefully/helping them move on. And that could definitely lead to more resistance to the idea of summoning a soul back to destroy it as well, which could especially impact the elders. So I'd assume that the Lan sect would be the most likely sect to summon Wei Wuxian's soul back just for confinement, or just for some way of making sure any resentment is disippated, his spirit moves on, and he can't cause more harm to the world (eg via Inquiry)******. Not that he would or does as a ghost or as a reborn person, but that's unfortunately not relevant to this.

But yes, as a motivation for the Nie Mingjue-led Nie sect? Absolutely.

So, these are the main motives I suspect to be behind the attempted summoning of Wei Wuxian's soul after his death (and if I've missed any, please let me know – I'd love to have a discussion). And, of course, none of them lead to anywhere good. Because of course it wasn’t enough to besiege Wei Wuxian, murder the 50 non-combatants he was responsible for (and throwing them into the blood pit as a mark of disrespect because why not?), and lead to his death via him getting torn apart. It wasn’t enough to steal all his inventions, and use them commonly while still slandering him with no reprieve – or to steal his notes and give them to people like Xue Yang to study (Villainous Friends, again) and to use for their own, extremely extremely harmful, purposes. Of course, the cultivation world has to try to harm Wei Wuxian after death as well ((:

We don't know whether Wei Wuxian rejecting the summoning ceremonies was conscious or unconscious, but if it was the former, these are very likely reasons he refused to return in this way. If it was unconscious – for example, maybe during the frequent soul-summons his soul was in a weakened state due to him dying from a backlash of resentful energy and getting torn apart, and it healed over time but not before the soul-summoning rituals stopped – well, I can only be thankful.

Finally, let me leave you on the thought that – although it may well have happened since we don't spend much time in the immediate aftermath of the Sunshot campaign – there isn't even any textual mention of this happening to Wen Ruohan. Who, while not being a guidao user, was still very dangerous, still an extremely powerful cultivator, and still had a lot of reason to feel resentment. So.

:')

Thank you for reading!

--

*Considering what we see of how Wei Wuxian's guidao functions – redirecting the ghosts'/corpses' resentment into doing something they'd want to do, eg attacking people, and directing it towards a target – I'm not sure using it to force a spirit to do something 1) extremely specific, and 2) explicitly against their will would actually work. Iirc the closest thing we get to this in text is Wei Wuxian using the corpses of Wens to attack other Wens in the Sunshot Campaign, but he's still just directing their resentment to a target of his choice, and fierce corpses do tend to be on the less concious side of things (hence why Wei Wuxian had to awaken Wen Ning's consciousness). Considering how Wen Ning attacks Wei Wuxian and the Burial Mound Wens before his consciousness had fully awoken, I... really don't think those fierce corpses were able to differentiate (or didn't care).

Meanwhile, ghosts seem to be a bit more in control of themselves – see A-Qing, and Wei Wuxian's own descriptions of his ghost self.

That, alongside ghost!Wei Wuxian being able to resist his soul-summoning and the fact that pretty much all of the new guidao users are a lot weaker than he was, does make me think that this this wouldn't work. I do wonder about Xue Yang, since his methods are pretty different as well, but he's more of a modao user than a guidao user (he controls living corpses rather than dead people) and I don't think you can insert physical nails into ghosts?? Though if he was specifically instructed to figure out some way to control ghost!Wei Wuxian (who's probably kept in a spirit-trapping pouch in this scenario), he might be able to do something at least. Though also he was also struggling to piece Xiao Xingchen's ghost soul back together, so he may struggle with those areas?

Well, whatever the potential outcome, I'm so so happy once again that Wei Wuxian's soul managed to resist the soul-summonings...

**Mainly this:

Everyone in the cultivation world knew that the young leader of the Jiang Clan watched out for Wei WuXian in an almost crazed manner. He would rather catch the wrong person than let go of any possibility, and took anyone who seemed like they held the soul of Wei WuXian away to the YunmengJiang Sect, inflicting severe torture on his victim. If he wanted to take someone back, the opposition would surely lose half of their life. - Chapter 10, EXR

But I have heard people say 'you can't prove that it's just more rumours' before, and I wanted my evidence to be as watertight as possible.

(And, off-topic... isn't it really sad how Jiang Cheng, in the present day, is described as young? Because, for a clan leader, he is. And another thing he is, is close in age to Wei Wuxian – who was killed 13 whole years prior :') )

***And do note that the only other time they run into each other before Wei Wuxian's identity is revealed to the world apart from this is their brief interaction at Jinlintai, where he can't just act however he wants. The next time they run into each other after it, Jiang Cheng is literally taking part in another siege against him, and still extremely hostile ("surrounded by hostile energy, face insidious, staring straight at him" – from EXR chapter 60). Then he loses his spiritual powers and can't do anything. By the time he regains his powers, Wei Wuxian, Lan Wangji and the Wen remnants' corpses have saved everyone during the Second Siege, and though public opinion hasn't properly shifted quite yet, it will soon after Sisi and Bicao tell the story of Jin Guangyao, and voila, a new scapegoat (do note that he doesn't completely bar Wei Wuxian from entering Lotus Pier after the Second Siege, though). Plus, throughout it all, Lan Wangji is still constantly present, which makes it hard for Jiang Cheng to really do anything. And then he's finally faced with the Golden Core reveal, which does alter his motivations towards Wei Wuxian (obviously the resentment is still there – read chapter 102 – but it's also mixed with other complex emotions, and he seems to start being able to move away from that a little in Chapter 103). I still definitely wouldn't describe Jiang Cheng's attitude towards him as positive, but it isn't at the point it was at the start of the novel (eg Chapter 10).

But even if his attitude does change, or would for whatever other reason apart from the reveal, that still doesn't change an initial motivation so isn't relevant to this meta. We know his intentions at the start.

****It's also possible they may have originated it, but I think WWX's reputation was bad enough for it to form naturally. Though you can trace a major part of that back to them, too.

*****That belief isn't outright stated in MDZS, but the fact people are specifically talking about the status of WWX's body in the aftermath of his death suggests that this belief does have some grounding in the MDZS universe, at least? And we know MXTX has included it in TGCF (though that doesn't mean it's definitely in MDZS), so she has used it in her works. If this isn't the case in the MDZS universe I am sorry (although that could also mean there's less importance placed on not disturbing the reincarnation cycle in the world of MDZS...? Which would work towards my original argument) – I don't want to spread misinformation that something is definitely true, I just think there's evidence to suggest it is true, which isn't the same thing.

******Again, I think this would depend on who ends up having more influence over who in the Lan sect. After all, normal resentful spirits only do what they do because of their resentment in death, whereas Wei Wuxian is 'dangerous' because of who everyone thinks he was in life – so him being reborn naturally could also 'cause a lot of harm to the world' during the time period this version of him would live in, unlike the resentful ghosts they appease. This could definitely lead to many advocating for confinement, I think.

[catzgam3rz]

BACK ON MY QSMP CATCH UP GRIND

PLEASE Take the best boy Chayanne! I love him so much.

(Hes based of a magpie which was inspired from @cloudster-the-clown 's design which is FANTASTIC)

[lang-shih-na]

the very first words out of shih-na's mouth to lang after admitting to being a spy and a murderer are flirting with him. you really have to respect a girlie who shoots her shot even in her darkest hour

[matamorose]

The decision in TP to drop any interaction between Audrey and Coop was a bad one. I think that their dynamic is a great way to refract a lot of the themes of the show, and it has a lot to do with TP’s multiple ways of viewing “good people.” (Something I’ve been stewing about for a while— hopefully soon I can articulate some of those thoughts)

Anyway,

Audrey is a great character, and it makes perfect sense for her to be intrigued by/attracted to a kind, handsome older man. She’s also badly neglected, and models the ways of gaining power + autonomy + attention that she sees in front of her, something that puts her in danger and is in no way a good thing. I get that all the characters’ ages/the timelines are fucked so there’s some ambiguous wiggle room, but she’s a kid. A very smart and resourceful one who wants to be the mysterious and competent adult that others see as a person, but still.

She wants Coop something fierce, and gets herself into intense peril pursuing that. She's tenacious and smart and badly damaged, and a teenage girl who's ignored + allowed to do whatever she wants, which is a very potent combination.

And Coop is textually attracted to her: I think that that’s very important to understanding a lot of his character, and ignoring it does a disservice to a lot of what the show is saying. MLMT does a lot of heavy lifting to explain and explore a history of childhood sexual misuse + hypersexuality with him, but even in just the show canon I think it’s very apparent and easy to understand that he’s grappling with his attitudes and attraction towards women, and especially with his own past and traumas.

The scene where Audrey surprises him naked in bed had the potential to be the fulcrum moment in their relationship, imo. Cooper is visibly wrestling with his attraction to her— something he knows and expresses aloud would be very wrong to act on— and Audrey is in an extremely fragile state, for all that she was trying to be assertive and take control in a relationship with an older man (a cop, even).

When Cooper lets her down gently and says that what she needs is a friend, that’s a very powerful moment. This is the “adult men sexually abuse young girls” show, but their relationship in particular has been set up to be interesting and alluring— I don’t think that people are nuts for picking up on the very intentional tension. It’s there, you’re supposed to see it.

So when Cooper says that she needs a friend, he makes the right choice, something that he doesn’t have a great track record of doing.

It’s a really powerful thing, that surrounded by all of these men who choose wrongly, and do wrong intentionally, Cooper is maybe the only adult man in Audrey’s life who makes the choice to respect and protect her, and that’s profoundly compelling. Like, I get it if someone wants to take that in another direction.

(There’s a more specific point to be made about Audrey’s father very nearly sexually assaulting her, and another, older man who is into her consciously deciding not to act on that, but I’ll toss it around and try to express it later)

You can debate it all day— which can be interesting and enriching— but for him to enter into a relationship with her would have been a clear, gross abuse of his power, and followed the pattern set by all of the other monstrous men in the show.

TP makes its stance on adult men sleeping with teenage girls crystal clear, there’s no way that they would have had their main character— morally iffy though he can be sometimes— go to bed with the teenage peer of a murder victim and then be like “awesome!” Cooper would be a very different man if he acted on it.

Which, I think is one of those moments where you as the viewer are supposed to look past the aesthetics and how pretty both adult actors are, the same way we all need to look past the quality of the coffee to understand what happened to Laura: a federal agent in his 30s who picks up a rural, neglected teenage lover in the wake of a grisly sex crime + said teenager’s father is a major player in the crime ring that allowed that to happen, is not a good man. That is a real-life horror that follows the framework of the show, and I think that part of the original intention was to leave that avenue open for later in the series, but more on that later.

All that being said, he absolutely thinks about it. He’s very tempted. That’s something that I feel like a lot of people don’t want to admit, but he’s explicitly attracted to her. It’s a testament to his character, and an interesting mirror to his ultimate failure of courage, that he, mister "Give Yourself a Present," was able to recognize a desire as harmful and squash it.

He’s less interesting if you just wave your hand and say “oh, he never even thought about it!” He did. He totally thought about it, he considered it, and wrestled with it, and ultimately came out on top. That’s infinitely more interesting— and IMO fits in better with the backstory established for him— than the idea that he’s just too morally pure and untouchable.

Even so, he elects not to do something that will harm her, and chooses to be her friend instead, something that she badly needs. That scene easily could have transitioned them from a very unequal “will-she-won’t-he” to a friendship that would benefit both of them, and give the characters some more room to flex + explore the facets of their similarities/their links to Laura and what they share with her.

Cooper sees Audrey, instead of blindly buying into her adolescent facade, or just looking past her. Even many of the angles their scenes are shot with reinforce that. He doesn’t ignore her.

I think that all of that goes into making their relationship extremely compelling, and, in my opinion, totally dropping that relationship after a point was just shitty writing. The whole weight of his choice to be her friend and to do right by her + her choice to accept that disappears when the show just truncates that entire plot line and dynamic. She needed that friend, needed and accepted what he was willing to offer her! Not to get shuffled off to the side and into a somewhat baffling plot line

(And if the show had gone on longer, or gone a different direction, I think that that would have been the avenue they chose to hammer in to viewers that as sexy as it sounded to a teenager, this is a bad thing, and that Coop was letting hangovers from past trauma/abuse get the better of him— something that is also very thematically appropriate. In a S3 that never was, I think it’s likely that possessed Coop/his doppelgänger/whatever direction they would have gone in the 90s would have attacked or initiated a relationship with her. TPTR alludes to this, I think, with Mr. C’s fathering Richard.)

I understand that there were tensions on set, and actors/execs had very strong opinions, but I do think that the “okay ew that’s over now” way that the show chops off a major undercurrent is badly done, and that the show is poorer for it.

Anyway, that relationship is one that really bugs me in how it developed in the show. Let me be clear that this is absolutely not an anti-ship post: do as thou wilt, have fun whatever I’m not here to pick a fight, and I really don’t care what other people ship. What strangers want to do with two fictional characters isn’t really my business.

But I don’t think that people are making something out of nothing, there, even if I have a much different stance on it. I think I’ve made my opinion of that relationship as romantic pretty clear at this point, but I have eyes and understand when you’re supposed to pick up on tension between characters.

I think that many people try far too hard to pretend that something very explicitly onscreen isn’t there, because they don’t want to wrestle with the thornier parts of it. (For a show that centers around a child being raped and murdered by her father, a great many watchers get surprisingly precious about unpleasant or even gray subjects, it seems to me.)

But I think it’s a shame that one of the most interesting relationships in the show got cut off so severely, and it’s really interesting to think of how they might have followed through on the punch, had there been fewer disasters surrounding the series.

I went on a little longer than I meant to about the idea of the pair of them as a romantic item, and that’s not the major point of this. Really, it’s that I think both characters lost out on that could have developed into something really compelling, because the bones were there. The setup was very strong, and the scene I talked about above absolutely could have transitioned those two into something, anything, more narratively satisfying and interesting than what we got.

I really like both of them, and I think that there’s a tendency to swing wildly one way or the other with Audrey. She’s much more nuanced than I think a lot of people give her credit for (which in fairness is something that afflicts basically all of the teenage characters, not to mention dear Dale), and there’s a place to think about her in-between outright fetishism a la coquette blogs, and pretending like she has no agency or desire/that her neglect has no impact on what she wants and how badly she’s willing to fight to get it.

She’s a major character in the show for a while, and I don’t like it that A) her character gets sidelined so abruptly B) many people in fandom go out of their way to minimize her role in the story. She’s not even one of my big favorites, I just think that she gets a raw deal.

My favorite thing about the show is the deep and knotted relationships, and I think that there was a warm-up swing and a really big miss with this one.

[tricoufamily]

a current day nils and a 90s college student nils who's way too intense about his internship walk into a bar

[ails-of-ardor-au]

Bumble strikes again

AYYYEEEEE

[tenojan-in-tevinter]

Honestly I really want to be able to side with Solas in dreadwolf. I think it'd be super interesting to play as an elf in Tevinter and be able to just go "yeah actually I think Fen'Harel is right let's tear down that veil." I mean I assume the main conflict will be Solas trying to convince your character to join him, or your character being told they have to try and stop him, and there are not enough games that let you side with the presented "villain" character. I want to see what the world is like with no veil I'm so interested. Also so interested to see what full-on Fen'Harel Solas is like. Is he still as empathetic? Or is he more conniving and distanced from "mortals" like the old stories would have us believe?

[doodle17]

Could you maybe tell us what future Raz and Lilis relationship is like now?

*vibrating with excitement*

Putting this under a read more because it might be really long hemngh

So I'd decided to study their characters and how they interact a little more (mostly from the second game, but a little bit of the first too) and think about how their relationship would develop as they got older.

I came to the conclusion that I want to portray them as two people who have some level of affection for the other, but don't have time to focus on being sappy "boyfriend and girlfriend" because of work. The "fun" part their relationship ended waaaay back when they were 18-ish and went from Junior Agents to Official Psychonauts. It ain't exactly easy to go on dates and save the world at the same time y'know, and both of them have a lot of personal stuff going on.

Raz is almost always busy. Constantly filling out paperwork, running around in Sasha's lab, doing agent stuff, Circus stuff, the WHOLE shebang. Lili, is still trying to get over her dad's retirement, as the while thing still feels very surreal to her. Not to mention Hollis and her dad trying to push her to become the next Grand Head, much to her dismay. It's not very easy to have a social life with that much going on to be 100% honest.

Theres also taking their very different personalities into account. Lili's "Fuck around and find out" and Raz's sticking to a solid plan type of methods tend to clash quite often, and many newcomers have a hard time telling whether or not they're dating or competing with eachother.

Lili is probably the most complicated woman Raz has ever worked with, and while he finds it endearing he also finds it incredibly exhausting. Sometimes, It feels like she'll do the exact opposite of what he tells her just to get a reaction out of him, out of spite. But it's not like she can help it. She absolutely hates being told what to do, and one of her least favorite things about Raz is when he decides to become "Mr. Boss man" and order everyone around during missions. Despite all of- that- however, they do end up having very successful missions!... Most of the time.

There's also the pressure to keep up professional appearances for their fellow agents and new interns. One thing the both of them can agree on, is that they'll avoid showing any PDA in front of their coworkers. They still cringe thinking about how a little too comfortable they were as kids, and how almost EVERYONE in the Motherlobe knew about it. Luckily, most of those people are retired, quit or fired, and gives the two a better chance to be a little more professional with their relationship in front of the newcomers, because if they have to hear, "You guys are like the next Sasha and Milla!" One more time...

This isn't to say that things are always rough and gloomy for them. They still have a very special connection, and after knowing eachother for half of their lives, it's not like they're going to get rid of the other anytime soon. So might as well make the most of it, eh? She'll never admit it out loud, but there's really no other person Lili would rather be tied up and dangling over a pool of pyrokenetic sharks with than Raz (which has actually happened before btw) There's no way you won't catch them holding hands or sneaking a quick kiss at least once.

Anyways, to sum all of this shishkabable up best I can: They're WAY too close to be considered "just coworkers", but they also have way too much going on to focus on a serious relationship at this time.

Good on you if you managed to read my nonsensical ramblings all the way through! Take a prize from the prize bin you deserve it 👏 👏👏

[leofrith]

A Critique of ACV: The Last Chapter (SPOILERS!)

I wanted to hold off on sharing my thoughts about the new content until I’d given The Last Chapter time to breathe, because I was honestly hoping that maybe if I gave it some time, I wouldn’t dislike it so much. But the more I think about it, the more I find things to dislike about it. Which is why what started out as a quick write-up of my thoughts immediately after playing The Last Chapter has now spiraled into this very long critique that got so long I needed to add subheadings to break it up. 

Sorryyyyy. 

I’m basically spoiling everything from The Last Chapter here, along with Assassin’s Creed: Valhalla and parts of its expansions. I also briefly mention a few other Assassin’s Creed games, mainly Odyssey and one of its DLCs. My point being, if you don’t want to know anything then please look away now. Or don’t. But I know I would have appreciated a warning before diving into this mess. 💀

As a disclaimer: this essay is not meant to be an attack, nor is it meant to place blame squarely at the feet of Darby Mcdevitt, or any of the other writers or developers involved with the game. There are so many moving parts in a game as expansive and with as much add-on content as Valhalla, and I can only guess what happened behind the scenes that brought us to this point. I don’t know who wrote what, who made what creative decisions, and I therefore don’t feel comfortable placing blame on anyone in particular. I have never worked for Ubisoft and I can therefore only speculate about their internal culture based on what has been leaked from the company over the years. Furthermore, this is not an invitation to personally attack anyone involved in the development of this game on Twitter or wherever else. This is purely an attempt on my part to articulate why me and so many other fans of Valhalla and of Eivor feel so profoundly emotionally betrayed by this ending, as well as outline some factors that I believe contributed to the way the game was mishandled. 

So. I think I had already accepted when the trailer released back in September that something like this was going to happen. I had already done my mourning for the fact that Eivor would never get the send-off she deserved, which is why I think I’m a lot less upset than I would have been otherwise… but that doesn't make this suck any less. The Last Chapter was completely underwhelming, it was emotionally unsatisfying, it completely butchered Eivor's character, it felt incomplete, and rushed, and it felt more like a teaser for Mirage than anything close to the conclusion Eivor’s story deserved.

The (Character) Assassination of Eivor Varinsdottir

When we first meet Eivor as an adult, she is overconfident, brash, and she has just gotten in over her head and gotten both herself and her crew captured by the enemy. She is in the 17th year of a quest for revenge she has been in pursuit of since she was nine years old. She has spent more than half of her life hunting Kjotve, the man who stole her parents, her clan, and her childhood from her, and is fully prepared to die if need be to kill him. She is an orphan who was taken in by the Raven Clan after the slaughter of her own people, and she considers these people to be her new family. Her love for her family and community are central to Eivor’s character right from the beginning. While she learns and grows past some of her flaws throughout the game, her love for her community and her loyalty to them is what sticks with her. 

Eivor also starts the game carrying an immense amount of shame for how her father died, laying down his axe in the hope that the rest of his clan would be spared, only for he and most of his people to be slaughtered anyway. Through her time spent acting as a leader to the Raven Clan–first as a warrior and later as their Jarlskona–Eivor finally understands by the end of the game why Varin did what he did, because she realizes that she would make the exact same choice to protect her people. Eivor, too, would choose to die in “dishonor” if it offered even the smallest chance to save her loved ones. 

Eivor is the reincarnation of Odin; she carries his memories and his thoughts, unbeknownst to her. She has visions and prophetic dreams and hears his voice in her head, but spends much of the game not understanding the meaning of it all. The part of her that is Odin pushes her toward chasing personal glory, toward the pursuit of knowledge, toward selfishness. But she chooses to abandon all that in favor of the people she loves, even as Odin rages and screams insults into her ear and calls her a coward–the one thing she has always been most fearful of becoming. Odin is a representation of everything she has been told to value in life, and she is (literally) pulled in the opposite direction by Sigurd, Randvi, Hytham, Valka, Gunnar, Soma… everything else. 

Eivor never truly seems to grasp the meaning of her connection to Odin, Sigurd’s connection to Tyr, Basim’s connection to Loki, or anything about the sages or the Isu at all. Not in the base game or in any of the DLCs. She never really acknowledges it explicitly until The Last Chapter. 

Put a pin in that.

Family and community are central to Eivor’s character. Loyalty is central to Eivor’s character. Honor is central to Eivor’s character. That’s why it makes absolutely no sense for Eivor to drop everything, seemingly out of nowhere, to go back to Vinland alone and live out the rest of her days learning from Odin, the part of her that she explicitly rejected at the end of the main game. And it certainly doesn’t justify Eivor deciding to leave Ravensthorpe in the middle of the night without a farewell, regardless of who she supposedly said goodbye to offscreen. It doesn’t justify her completely sudden and out of character decision to walk away from her clan, her family without a true goodbye. Eivor spends the entire base game acting as Jarl in Sigurd’s stead in everything but title, because Sigurd has all but completely abandoned the clan in order to chase his own ambitions, only for Eivor to supposedly do the very same thing? No. It’s completely incongruent with her character and actively contradicts facts that were established in the main game.

There are so many other inconsistencies, including the fact that I highly doubt Valka–the same Valka who we saw warn Eivor against digging too deeply in her visions in the intro to The Forgotten Saga–would simply accept Eivor departing for another continent to delve deeper into her visions. But the way they miswrote Eivor’s character was particularly glaring. There could have been a version of the last chapter in which Eivor's motivations actually made sense, but that version needed so much more evidence for it to be believable. Reading between the lines is one thing, but expecting players to accept the conclusions you’re feeding them without planting any seeds beforehand is just lazy writing. [insert “HE WOULDN’T FUCKING SAY THAT” meme]

The RPG structure is the root of all evil (I know just… hear me out on this)

I think applying an RPG structure to Assassin’s Creed was a mistake, and have thought so for a while, but not really for the reason you’re probably thinking of. The “but we’re reliving another person’s memories in the animus, so how can it possibly make sense to allow us to make choices that affect the narrative?” reason. My criticism of the addition of choices is mainly this: I think that by trying to “expand” the story by adding RPG elements and dialogue options, they instead ended up severely limiting themselves. Because the problem with adding dialogue options to Assassin’s Creed is they can never take those choices to their conclusion. They can never truly have consequences.

Trying to tell a linear story with a non-linear structure like this doesn’t work, or at the very least, it hasn’t worked in Assassin’s Creed thus far. Odyssey came closer, I think, because it had multiple distinct outcomes and player choices actually had an affect on the trajectory of the plot (Mostly. Hi, Legacy of the First Blade. I’m coming for you in a minute.). Odyssey's multiple endings present a different problem entirely in the context of Assassin’s Creed because despite the input of choice, there is still a canon version of the story and a canon ending. It leaves those players that arrived at a different outcome feeling alienated, and like their choices were incorrect or simply didn't matter. 

But in Valhalla, all roads lead to more or less the same destination and most decisions have no impact on the trajectory of the story. The problem that arises from this is that players will make their choices and expect some sort of payoff, as they should. But they won’t really get it. As per Darby McDevitt, for example, Sigurd always goes back to Norway at some point, regardless of whether a player ends up with the “good” or the “bad” ending. Sigurd returning to Norway is a fixed point and the timeline will always course correct, so to speak, to reach that end. 

(Thank you @/vikingnerd793 for the screenshot!)

Everyone gets more or less the same version of The Last Chapter, with the siblings’ interactions only varying slightly after the “bad” ending to reflect the fact that Eivor and Sigurd haven’t seen each other in a while. But even with the tiny variations in dialogue that exist, a few changed lines in a scene that doesn't last any longer than two minutes still fail to make Eivor and Sigurd's supposed off-screen reconciliation feel even remotely earned. Ubisoft wanted to offer “choice” while not following through with emotional payoff for those choices because they only wanted a single ending. Even if a player ends the main game with Sigurd deciding to stay in Norway as a result of Eivor’s “betrayal,” the consequences of that to their relationship are never truly explored.

Having only one ending with no variations in an RPG means that they couldn’t address any of the plot points that could have been affected by player choices. Interpersonal conflicts are watered down or only vaguely referenced. They couldn’t truly address the state of Eivor and Sigurd’s relationship because that would depend on what endgame the player reached. They couldn’t give Randvi an actual goodbye because some people didn’t romance her and therefore it might feel “forced” to those people, despite her being a major character. Vili–despite apparently being Eivor’s best friend–can’t appear because for some people, he’s busy being the Jarl of Snotinghamscire. There is no true emotional follow through for any of the choices made throughout the game. The end result is a goodbye tour consisting of Aelfred, Guthrum, and Harald, three people who Eivor has little to no emotional attachment to, but whose roles in the game are fixed no matter what choices the player makes, which means they’re safe to use. To be clear, Hytham’s role in the narrative is also fixed, but the reason I separate him from the other three is because he is actually emotionally significant to Eivor. His goodbye, unlike the other three, feels earned. 

To be clear, I don’t place the blame entirely on the writers for this because, as I’ve said, they were given a franchise that revolves around linear stories, told to put dialogue options into it, and make sure all those choices still lead to the same conclusion. As an extension of that, they brought back people who worked on the base game two years after its release to tie up loose ends that should have been dealt with years ago. I wouldn't be surprised if those same creators have all since moved on from this story and its characters, both creatively and emotionally. It's been two years. Even longer than that since they actually worked on the game. I wouldn't fault them for not having the same enthusiasm they once did. But the end result is a last chapter that feels almost completely devoid of emotion, and ties up absolutely none of the loose ends that most people would expect from a permanent “goodbye.” It fails to reach the emotional highs and lows that a conclusion with two years of build up should have. 

Which now brings me to Randvi. 

Oh, Randvi, now and forever shackled to her map table. 

I know this will be a hard pill to swallow for a lot of people, but I always suspected that they would never actually follow through on making Randvi and Eivor's relationship canon despite the fact that it is indisputably the most fleshed out romance in the game. They are hinted at right from the beginning, in the form of Randvi’s clear dissatisfaction with her marriage to Sigurd and in Eivor’s lingering gazes. It is the only romance option in the game that has any effect on one of Eivor’s core internal conflicts: remaining loyal to her brother. “The wind calls [her] back to Randvi” after almost every single regional arc, whether players choose to pursue a romance or not.

But Darby McDevitt Official Headcanon or no, I never thought Ubisoft would "force" another romance after the backlash from Odyssey's Legacy of the First Blade (I told you I’d come back to it). I truly believe the company will and has happily suffered criticism from the Queer community for forcing a relationship on gamers who played Kassandra as a lesbian. Kassandra who, prior to the DLC, also never shows any interest in starting a family, or becoming a mother, or “continuing the family line”, as would become Ubisoft’s flimsy correction to the storyline after the criticisms started rolling in. But I highly doubt they would be okay with alienating the bigots who seem to form the loudest portion of their player base. That would be too much of a risk to their bottom line. 

To me, the romance plotline in Legacy of the First Blade was the inevitable result of Ubisoft wanting to tell a linear story with a non-linear structure. I think they did so without thinking through the implications of letting players choose their character's sexuality, only to then backtrack on it later because they needed Kassandra to have a baby. And what they seemed to take away from that was only that all forced romance is bad, without grasping the nuance of why that particular forced romance was so bad. This isn’t to say there should be any forced romance at all but that it should have served as a lesson of why one shouldn’t make a game with so much emphasis on player choice, only to take that choice away and even retroactively nullify those choices when it suits the needs of the plot. But that wasn't Ubisoft's takeaway. So in Valhalla, they pulled back. They made all player choices matter just a little bit less.

Eivor and Randvi’s relationship is inarguably handled with more care than any of the other romances in the game. It is inextricable from the narrative, whether it is a romantic relationship or a friendship. But despite any amount of blatantly obvious subtext that exists, Valhalla is still an RPG and the creators cannot confirm or deny any of the choices as correct or incorrect. And because they have to cater to all possible endings, they cannot address Eivor and Randvi’s relationship in any capacity because it might be misconstrued as being forced. Despite every overt piece of evidence that exists, Valhalla is still technically an RPG and at the end of the day, plenty of people did not choose Randvi. No amount of narrative director headcanons or heavy subtext will change the fact that Randvi is a seemingly meaningless choice in a sea of meaningless choices, and has now remained so permanently.

Ubisoft just really sucks as a company, actually

Everything that I am about to say in this section (and honestly, most of the next one as well) is conjecture because again, I don't know how certain creative decisions were reached behind the scenes. This isn't just about Randvi, or about Eivor's sexuality. It’s also about Ubisoft’s long and storied history of internal misconduct and suppression of marginalized voices. It's about Ubisoft's history of employee abuse in general. It's about the fact that Ubisoft suddenly decided to let players choose their gender, but only once they finally got around to making mainline titles starring women. Syndicate’s Jacob and Evie share the role of protagonist, and would have also shared equal screen time if Evie’s role hadn’t been significantly minimized throughout production in favour of her brother. Aya was originally meant to replace Bayek as the main playable character early on in Origins, but was later reduced to a side character who is only playable in a few missions throughout the game. Aya, the founder of the Hidden Ones. The order that would later evolve into the Assassins. The order that is the namesake of the entire franchise, just to be clear. Odyssey was originally conceived as Kassandra’s game, before the developers were made to allow players the choice to play as Alexios. Every female protagonist in the franchise thus far has been minimized in some way, and Eivor is unfortunately no different. 

Assassin's Creed is a huge enough brand at this point that they could have easily released Odyssey with only Kassandra, and Valhalla with only Eivor. But instead of taking a "risk" and doing just that, they added the male options to cater to a small but vocal minority of misogynistic piss babies who don't want women to exist in their video games, period. At least, certainly not as fully realized characters with personalities and thoughts and feelings of their own. That would require acknowledging women as people, rather than as identical playthings that mostly exist as a social stealth mechanic for them to hide behind when they need a cover. 

It’s especially funny because it was such a futile effort. That very same group of people was never not going to complain about Assassin’s Creed going “woke” for having female protagonists, even if they were optional. Those people were going to complain no matter what, and they absolutely have as evidenced by the fact that they've been having a conniption on Twitter for the past few months now that Eivor is suddenly getting even half of the attention from the marketing team that Havi has gotten for two years. The comments section on every official social media post featuring Eivor is a sea of people complaining about how “female” Eivor being canon makes no sense, how her voice sucks, how she is just the result of Ubisoft pandering to a “woke” demographic. The “fan” response could not be more blatantly misogynistic. What’s more, Ubisoft bases the trajectory of their games at least partially on fan responses. It’s a toxic feedback loop of them making creative decisions built on sexism and the fans responding in turn. 

Ubisoft deciding to implement gender choice as a mechanic didn't happen because they suddenly had a change of heart after happily ignoring their female players for years. It happened because they got busted for the "women don't sell" comments and the company's history of burying sexual assault allegations, and because they finally caught on to the fact that catering to gamers that aren't cishet men might actually be profitable. And it wasn't for lack of trying from the devs within the company because again, Origins was originally conceived as being Aya's game, Evie and Jacob were at the very least supposed to have equal screen time when development on Syndicate was in the early stages, Elise's role in Unity was also reduced... you get the idea.

Letting people choose to play as a woman or letting people choose to play as a Queer person is great. But it's an obvious cop out when your company also has a history of suppressing those very same voices, has done next to nothing to remedy the toxic company culture that encourages that behaviour in the first place, and when you've been dragging your feet as a developer about making your games even just a bit more inclusive for years. It’s an empty gesture when those female characters need to be watered down just enough for their male counterparts to make some amount of sense in the story, and when the marketing for the game hides them away like some kind of shameful secret. 

Suddenly making games starring female protagonists because you’ve realized that it might be profitable, while also making it optional anyway, isn’t exactly the win for representation they seem to think it is. Especially when the marketing favours the non-canon, male protagonists so totally that most people would assume Eivor and Kassandra are skins of their male counterparts. Because heaven forbid the poor baby boys have their escapist fantasy shaken if they have to play as a woman who’s better at getting girls than they are. Making your representation optional makes your representation look half-assed and while I absolutely adore Eivor and Kassandra, I mourn what they could have been if their stories were allowed to be fully theirs. 

Perhaps I’m being overly harsh and Ubisoft simply decided to implement gender choice in Valhalla in good faith. I honestly wouldn’t care if I thought it had, or if AC games had always allowed players to choose their gender. But considering the company’s history, and considering the game’s marketing, I somehow doubt that. Especially when, in their first game featuring a canon male protagonist since before AC pivoted to RPGs, they are not giving players the option to choose their gender. 

Hi Basim. 

Now don’t get me wrong. I obviously understand why Mirage doesn’t allow players to choose their gender; Basim is a pre-existing character, and it really wouldn’t make sense. But it is so transparent that they are willing to jump through narrative hoops to explain why Alexios is playable as the Eagle Bearer, but the same thing can’t be done for Basim. I suppose the importance of coming up with convoluted reasons as to why your protagonist’s gender is so easily changeable fades away when you’re not trying to replace a woman. 

But what’s this? By God it’s–it’s Mirage with a steel chair!

The final content update for Valhalla feels like a teaser for Mirage. Full stop. If you think I'm being too harsh or unfair, then that's your prerogative. But in The Last Chapter, in the long-awaited conclusion to Eivor’s story, we don't even get to play as Eivor. The entire questline (if it can even be considered that much) consists almost entirely of cutscenes, which we view through Basim's perspective while Eivor is relegated to a side character. It’s a collection of Eivor’s memories that are supposedly filtered by emotional intensity, as Basim puts it. Grief, longing, sadness: all emotions that I fail to see being presented in the memories they gave us, at least for the most part. For the first time in Valhalla, we are voyeurs to Eivor’s memories rather than experiencing her life through her own eyes. The role of the animus user in past Assassin’s Creed games has always been pretty unobtrusive, but The Last Chapter constantly reminds us that Basim is there and watching. "Animus magic," as Basim calls it, was less of a necessity to the plot and felt a lot more like Ubisoft's marketing department gone awry. 

I'm thinking about what Basim says at the end of the base game, when he is in the modern day and speaking to Eivor's remains. When he says, "I can take from you anything I want... your memories, your skills, your secrets. They're all mine." It's so ironic because he really stole Eivor's ending right out from under her, and I would have to laugh if it didn’t suck so much. It's all I could think about while I was watching Basim flippantly scrub through some of Eivor's most "emotional" memories which for some reason include… saying goodbye to Guthrum, a character we spend very little time with in the grand scheme of things, and who Eivor has next to no emotional attachment to. I understand the desire to tie up loose ends in terms of the historical events that were happening around this time, and they absolutely should have done all that because Assassin’s Creed has always been, in part, an exploration of history. But it should not have happened at the cost of providing closure for characters who were such significant figures in Eivor’s life.

I thought the Roshan quest was fun and I loved her and Eivor’s dynamic, even if we only got a small glimpse of it. But it was development time that could have been spent on wrapping up Eivor’s narrative instead of making another timeline agnostic add-on stealth mission in a game that has always had notoriously janky stealth mechanics. I look forward to seeing more of Roshan in Mirage and can now rest easy knowing that she is going to survive to the end of that game (although I cannot fathom why they decided to spoil that so early on). But they used what was apparently very limited time to give us a quest, very clearly a nod to Mirage, that does more to promote their next AAA title than serve the narrative of Valhalla.

Using the ending of a game to lead into the next is fine and is to be expected. But that transition should not come at the cost of a resolution for the story you're leaving behind. And really, it seems there was far more thought put into Basim and William Miles' first meeting than how Eivor came to the decision to leave for Vinland. 

I think Basim is an incredibly rich, complex character, and it will be interesting to see what direction they take his prequel. But as someone who has actually been really excited for Mirage, the way they've dealt with this transition between games has left me feeling so conflicted, not least of all because of how quickly Ubisoft dropped the ball on Valhalla as soon as Mirage was announced. I’m not sure I’ll be able to look at everything we will be gaining with Basim in the next game without also feeling bitter about everything we lost with Eivor. It’s not terribly surprising, since Ubisoft has never treated Eivor’s character with any amount of respect; not in the marketing, and not in most of the post-launch content that has come out in the past year. 

The post-launch that launched absolutely nothing

Darby has now said that The Last Chapter is meant as more of a direct follow up to the epilogue of the main campaign, to be played right after Gunnar's wedding. This is why they didn't feel the need to show a goodbye between Eivor and her people; the wedding functions as a sufficient goodbye to the Raven Clan.

But even if that was even remotely satisfying, it doesn't explain when Eivor came to accept her role as a sage, a role that she has yet to understand by the end of the base game, even if she is perhaps beginning to question it at the very least. It doesn't explain why it was never truly addressed in any of the some 100 plus hours of content that have been released for this game since then. It doesn't explain why Eivor and Randvi might finally pursue a relationship, only for Eivor to suddenly pick up and leave for Vinland, alone and permanently. It doesn’t explain why Eivor would leave for distant shores without saying goodbye to Ljufvina, or Vili, or Stowe and Erke, or Broder, or Oswald and Valdis, or Swanburrow, or any of the many other people whose relationships Eivor cherishes throughout the game. 

If anything, The Last Chapter being played immediately after Gunnar's wedding and the rest of the Hamtunscire epilogue makes it even more important for Eivor to say goodbye to her people, because that whole arc only cements Eivor’s devotion to her people, as well as how much her “encounters” with Odin have shaken her faith. Even then, that doesn't even touch on when or why she came to the decision to leave in the first place. 

Due to a “play anytime” approach that Ubisoft–for reasons I cannot even begin to fathom–decided to take with all the post-launch content for this game, all DLCs for Valhalla are exactly that: they can be played at any time. They go to great pains to avoid spoiling story points from the base game, they rarely make references to events from the base game and, perhaps most critically here, they don’t build on any of the plotlines of the base game. 

Remember that pin we stuck in Odin earlier? Hi. He's back.

None of the DLCs released in post-launch–from Wrath of the Druids to The Siege of Paris, to smaller, free additions such as the River Raids–touch on Eivor’s connection to Odin or her understanding of it, or any of the other potential threads left behind by the base game. Other more mythologically inclined entries like the Mastery Challenges, Dawn of Ragnarok, and The Forgotten Saga scratch the surface of it, but never dig deep enough for Eivor to put two and two together. Even in the Odyssey crossover with Kassandra, who has intimate knowledge of the Isu and their artifacts, Eivor remains completely clueless about her role as a sage despite it being the perfect opportunity for her to learn more. 

At no point is Eivor shown to make any wild revelations about her Isu heritage that could justify her decision to leave. There is a gaping hole in the narrative where that development should be, and therefore the jump from “everything else” to “I’m older now, and I want to learn from the god who lives in my head,” is unearned and comes from completely out of nowhere. The DLCs could have remedied this easily by giving us deeper insight into how Eivor interprets her visions, specifically how she interprets her relationship to Odin. They could have dug into how and when she comes to terms with that connection, and the same could be said for how she comes to know about all the other sages, including Harald, who Eivor and Sigurd suddenly seem to know about being the reincarnation of Freyr despite not seeing him in more than a decade and never mentioning it before. But they can’t, because the DLCs are playable at any time, and therefore cannot discuss things the player may not yet understand.

The brevity of this DLC was especially jarring, even as someone who went into this with low expectations. Because after two years worth of updates, including some sizable free ones, I thought that surely Eivor’s conclusion would be considered important enough to receive the time and attention it deserved. After all, Kassandra got her own surprise ending in the form of the Crossover Stories, announced completely out of nowhere two years after the last DLC for Odyssey was released. After all the time and effort and love that clearly went into that crossover, it seemed reasonable enough that the ending for Valhalla, a game that was still being supported, would have the same amount of effort put into it, if not more. Instead we got a barely there wrap-up that lasts maybe 45 minutes at most, if you’re being generous, and fails spectacularly at offering the catharsis that should be a no-brainer in a story where the main character’s death has been a mystery to be unraveled, right from the beginning. 

Eivor is dead. She has been dead for centuries, buried across an ocean from everyone and everything she knew in life. The how and why of Eivor’s burial site is a question that follows us through her entire journey and throughout the entire game. One that was never resolved… until now, with some vague notion about leaving everything she has worked for and everyone she holds dear behind in an attempt to find herself, all with the help of an entity with whom her relationship has been tenuous at best. Eivor decides to banish the part of her that is Odin because she doesn’t like that part of herself. That second soul, the part of her that values personal glory above all else. Even in The Last Chapter, she describes Odin’s memories as “malicious.” So why backtrack so completely? 

I have no idea.

It’s possible the developers weren’t given enough time to give this final chapter the breathing room it needed to make sense. It’s possible they had lost enthusiasm, and just wanted to rip the band-aid off and get this thing over with. It’s possible Ubisoft wanted to cobble together the scraps of a potentially satisfying ending so they could say they did it, before turning all of their attention to their next title. As it stands, I wish they had just left Valhalla alone, with an open ending, instead of providing a non-answer that feels like an afterthought. An incomplete conclusion to a story and a cast of characters that many of us still care so much about, but Ubisoft seemingly gave up on long ago. 

Eivor deserved better. 

The Raven Clan deserved better. 

Valhalla deserved better. 

We, the fans, deserved better.

If you actually read this far then there is a good chance that you also need therapy

This whole affair really reminds me of the last time I felt this profoundly disappointed by a piece of media I loved. It reminds me of how I felt after watching the second season finale of The Mandalorian, when it hit me that the whole season had just been a series of various cameos and fan service moments that only made sense to the plot at a stretch. It hit me that I had just spent the previous eight weeks watching the show runners completely sideline their main characters–Din Djarin and Grogu–and lose the plot in favour of promoting future Star Wars projects. When it seemed like all the good writing in the show previously had been entirely accidental. But the major difference between The Mandalorian and the ending of Valhalla is that I knew there would be another season of The Mandalorian to potentially patch things up and pick up on some of the plot threads that were dropped. For Valhalla, this is it. There is no more content upcoming that will patch this up and, in hindsight, there are plenty of other things added to this game in post launch that I think would have also made me feel the same way I feel right now if I knew they were the last piece of content we’d ever see. 

Am I overthinking this? Perhaps. Am I being melodramatic? Probably. But to me, this ending for Eivor feels like yet another perfect example of what happens when corporate interests are allowed to dictate creative decisions. 

I say all this as someone who has and will continue to defend a lot of Valhalla’s faults, because if writing this whole thing has done anything, it has served to remind me how good the core narrative of the base game really is. It has depth, it has heart, and I hope that other people who enjoyed it as much as I did–and are as disappointed by The Last Chapter as I am–are able to reconcile the beauty of Eivor’s character arc in the main game with the way it was seemingly undone in The Last Chapter. 

I’m trying my very best to not let this ending retroactively take away all the joy I’ve found in this game for the past year. And in spite of how negative this critique has been, writing it has actually really helped me do just that. Because in writing this critique, I was also looking back on Valhalla’s narrative, its highs and lows, its major plot points, and I was re-watching clips. A speed run of Eivor’s greatest hits, if you will. 

I was reminded of why I connected so strongly with Eivor in the first place. I was reminded of her strength, her kindheartedness, her love of children, her wit, the poetry of her dialogue, her sense of duty. I was reminded of her rage, her single mindedness, her sense of loyalty that is often to her own detriment when she offers it to those who don’t deserve it. I was reminded of her character arc from someone who spends so much of her life on a single minded quest for revenge, to someone who becomes a beloved leader to her people. 

I was reminded of the Valhalla sequence at the end of the game, a sequence that still makes me cry just as much now as it did the first time I played it, if not more. When Eivor, who has spent most of her life feeling nothing but resentment and shame toward her dead father, finally learns to understand why he did what he did. When she understands why he laid down his axe, the very same axe she holds now, in the futile hope that his daughter, his wife, and the rest of his people would be spared, only for most of his people to be slaughtered anyway. When Eivor has finally realized, through years of acting as a leader to her people, why Varin did what he did, even in opposition to everything she has ever been taught to value. When she has grown enough to realize that she too would make the exact same choice her father did, her cowardly father, because she too would die in dishonour if it offered even the slightest chance to save her loved ones. When Eivor, who has spent her life trying to justify her existence by being useful, finally accepts that her parents died because they loved her and not because she didn't do enough. When Eivor is holding the very same axe now that her father held then and the High One himself is offering her wisdom and glory and power and she, like her father before her, drops her axe and turns her back and chooses love instead.

That is the version of Eivor I will remember. Not the hastily cobbled together ghost of her that we saw in The Last Chapter.

[crushbskn]

- a taste;

summary: a first kiss in a back alley after a concert. pairing: this drabble is nonspecific enough to project any couple (i use her/him pronouns) > it is based on a specific otp though, and I kind of hope to tell more of their story. wc: 774 warnings: pg13, just a kiss. notes: I never wrote anything online like that, this is a big first for me. Also, this is not proofread.

They slip into the poorly lighted back-alley, the bass of the music drowning behind the closed door.

Leaning onto the brick wall, he sets a cig onto his lips, then rummages through his pockets for the lighter but before he could find it two fingers snatch the stick out.

"Don’t, she says, I don't like the taste of it."

He blinks.

"... the taste?"

There is an electrifying silence as the meaning sets in. She didn't mean to say it like that, to expose her hand so brazenly, but the flustered demeanor he offered in response gave her no reason to back down. The years of brushing past each other, just close enough to wonder, pulled away too fast to let regrets linger and pushed in the corner of a what if, it all felt suddenly palpable.  

She takes a step forward. It was as if she could see all the perfectly fitted pieces of Tetris of his mind trying desperately to readjust themselves into a puzzle they couldn't figure out, and melt away in a sea of questions he wouldn't dare asking, or even admit having.

So, she cuts the ambiguity. Another step brings her on the border of him, and her stare falls downs on his lips, deliberately, making her intentions plain. And yet, she waits, their sporadic breathings tangling. She wants to give him a chance to slip away, if he wishes.

But he doesn't. Instead he stands, agape, and his own gaze falls down on the curves of her parted mouth. So slowly that every second become deliciously agonizing, her fingers slide along his jawline, imperceptibly guiding his face towards her.

Their noses graze first, he gasps lightly, she breathes in and breaches the last millimeters so their lips finally brush each other.

It begins as the most timid kiss, her dictating the slow pace like you would for the very first taste of a summer fruit, nearly overcame by the softness of him, holding back the instinct of ravaging her way through her desire, to savour every nerve electrified at the tantalizing touch.

But she can't bear it for long before she lets themselves melt into the kiss, her lids closing fully as the feeling overtakes her more than she had predicted.

She only realizes she had rose on tiptoe to reach him when her forces leave her and she plops back down, breaking the kiss inadvertently despite him following her down, but remaining close enough to feel the breath he had been holding against her skin, sending jolts down her spine.

If she had opened her eyes, maybe she would have noticed the total abandonment on his features, paired with the confusion of feeling both so intimate with her and yet so self-conscious of the placement of his hands on any parts of her and letting them hover aimlessly above her hips.

Moving with nothing but the intoxication of the moment held in time, they lock lips again, furtively, and again, with demands, and then again, generously.  While her hand drops along his neck to his chest, his abandon their shyness and find their way up to cup her face. The kiss deepens, aflame by a newfound hunger and an endless thirst, now both equally leading, and begging, and reassuring at once.

The door slams open. They both jump out of the embrace to opposite sides of the alley, flooded by the loud music and a voice just as booming.

"I've been looking for you! Oh, hi, they soften at the sight of the man, then turns back to Her. We need to pack up, they say they need the stage cleaned in 10. I mean, you can finish your smoke but move your ass after, 'k?"

Her, bewildered, trying to not look like it, follows their gaze to her right hand and find the cigarette she had snatch away, still surviving the make out session.

Rising it to her band mate, she nods with a forced chuckle.

"Sure thing, be right there!"

Once they leave, yet keeping the door open, probably on purpose, She lets out a sigh and turns to face Him, which is when she notices he was standing in front of the brick wall, out of panic.

"I've got to-"

He jolts back around. "Oh yeah, yeah, of course."

She smiles, out of awkwardness mostly, and goes for the exit but, before even finishing that thought, she stops. "If you want, in 10, we could... I've got whiskey in the green room if you want ... a taste."

He holds her uncertain eyes, and a grin appears.

"I would love a taste."

[m4ndysk4nkovich]

i feel like one of the only people who loved gay jesus. like- it was one of my favorite storylines and without it gallavich wouldn’t be endgame. it’s so overhated and i get it seems unnecessary but it really was so important.

[crimeronan]

orpheus sucked. i've said it before and i'll say it again: if you loved her you wouldn't look. rip to eurydice girl if you were married to ME i'd walk straight out of hell and keep walking and if i never saw you again it would be okay because i'd know you were alive and carry that with me and none of the rest of it would matter because THAT'S WHAT LOVE IS and anything else makes my skin crawl. your husband fuckin SUCKSSSSS dude i'm so sorry. i'm so sorry an ugly bitch would do you like that i'm SO s

[monty-glasses-roxy]

Just had the idea of doing a Roxy askblog that's based on it being a secret blog she's not allowed to have and every so often if someone asks her something she just says stuff like "To the Fazspy reading this, I'm not the real Roxy." to try and throw the staff off her trail lmao

Will probably never make a blog like that, but it could be kinda funny. Maybe I bring the idea of an 'ask Roxy anything' game back where I draw the answers for it instead so it's not a whole ass blog dedicated to Roxy being a sneaky lil shit on the internet