#and i make npcs so i can explore them

[nightside101]

Do you guys remember in arc 1 when people used to call the wizard by their name? And then by late game no one ever uses their name anymore and they're referred to exclusively as The Wizard, even by people who consider themselves to be friends? Even by people who once used to call them by their actual name? Even though they live in a wizarding world that is, ostensibly, mostly made up of wizards?

and then by Lemuria they're introducing themselves to people as The Wizard too...

[goblin-enjoyer]

*draws something for the first time in a while. “Man I suck at drawing! Maybe go back to being good at it if I draw more!”

*doesn’t draw

*doesn’t draw

*doesn’t draw

*doesn’t draw

*doesn’t draw

*doesn’t draw

*doesn’t draw

*doesn’t draw

*doesn’t draw

*doesn’t draw

“Oh I got a neat idea for a drawing! Surely I have gotten better by now!” Loop post

[gamesyoushouldbeplaying]

Jacob Geller wasnt kidding, that time loop can nihilism

[blujayonthewing]

reflecting on how all of my other DMs have gone above and beyond to lovingly weave my and my friends' backstory elements into the larger worldbuilding of the campaign by contrast to all of the ways Elyss' DM has gone out of his way to suppress or excise any influences her family may have ever had on anything and I'm genuinely near tears over it

[dalishious]

The Sanitized Lore of Dragon Age: The Veilguard

Tevinter is the heart of slavery in Thedas. This lore has been established in every game, novel, comic, and other extended material in the Dragon Age franchise to date that so much as mentions the nation. But in Dragon Age: The Veilguard, when we are finally able to actually visit this location for the first time… this rampant slavery we’ve heard so much about is nowhere to be found. It’s talked about here and there; Neve mentions The Viper has a history of freeing slaves, as does Rook themselves if they choose the Shadow Dragon faction as their origin, for example. But walking down the streets of Minrathous, you’d never know. Because Dragon Age: The Veilguard, for all its enjoyment otherwise, has one glaring issue: It’s too clean.

The world of Thedas is full of injustices. Humans persecute elves, fear qunari, and belittle dwarves. Mages of any race are treated like caged animals in most places. The nobility is corrupt. Although, Dragon Age has not always handled these injustices well, mind you. Many, many times I’ve found myself frustrated with moments that just feel like a Racism Simulator. But what makes it worth it, is when you can actually do something about it. These injustices are things that a good-aligned character strives to fight back against, maybe even for very personal reasons. Part of the power-fantasy for many minorities is that this fight feels tangible. I cannot arrange the assassination of a corrupt politician in real life, but I sure can get Celene Valmont stabbed to death in Dragon Age: Inquisition, for example. Additionally, these fictional injustices can be used to make statements on real life parallels, like any source of media. For example, no, the Chant of Light is not real, but acting as a stand-in for Catholicism, through a media analysis lens we can explore what the Chant of Light communicates on a figurative level.

When starting Dragon Age: The Veilguard and selecting to play as an elf – this should be unsurprising to anyone who is familiar with my bias towards them – I was fully prepared to enter the streets of Minrathous and immediately get called “knife-ear” or “rabbit”. But this did not happen. I thought perhaps it was just a prologue thing, but returning to Minrathous once again, there was not a single shred of disapproval from any NPC I encountered that wasn’t a generic enemy to fight. And even the generic enemies, the Tevinter Nationalist cult of the Venatori, didn’t seem to care at all that I was a lineage they deemed inferior before now. This is a stark difference from entering the Winter Palace in Dragon Age: Inquisition and immediately getting hit with court disapproval and insults. Are we now to believe that Tevinter has somehow solved its astronomical racism and classism problems in the ten years since the past game? Or perhaps are we to believe all the characters who have demonstrated Tevinter’s systemic discriminatory views were just lying or outliers? Because it makes absolutely no sense at all for this horribly corrupt nation to not have a shred of reactivity to an elven or qunari Rook prancing around. But here were are, and not a single NPC even recognizes my character’s lineage. And because this is so different from every single past game, it feels weird.

As an elf, you have the option to make a comment about how “too many humans look down on us” in one scene early in the game. You can also talk to Bellara and Davrin, the elven companions, about concerns that people won’t trust elves after finding out about the big bad Ancient Evanuris… but this is presented as if elves don’t already face persecution. It’s all so limited in scope that it could be all too easily missed if you are not paying very close attention, and coming into the game with pre-existing lore knowledge.

All this made it easy to first assume that the developers simply over-corrected an attempt to address the Racism Simulator moments. And if that was the case, than I would at least give credit to effort; they did not find the right balance, but they at least tried. However, the sudden lack of discrimination against different lineages in Dragon Age: The Veilguard is not the only sanitized example of lore present.

In Dragon Age: Origins, Zevran Arainai is a companion who is from the Antivan Crows; a group of assassins. He discusses in detail how the Crows buy children and raise them into murder machines through all kinds of torture. The World of Thedas books also describe how the Antivan Crows work, echoing what Zevran says and expanding that of the recruitment, only a select handful of those taken by the Crows even survive. When you start Dragon Age: The Veilguard as an Antivan Crow, you immediately unlock a re-used codex entry from the past, “The Crows and Queen Madrigal”, that says the following:

“His guild has a reputation to uphold. They are ruthless, efficient, and discreet. How would they maintain such notoriety if agents routinely revealed the names of employers with something as "banal" as torture.”

Ruthless, efficient, and discreet. Torture is banal. This is what the Crows were before Dragon Age: The Veilguard decided to take them in a very different direction. The Antivan Crows in this latest game are painted as freedom fighters against the Antaam occupation of Treviso. Teia calls the Crows “patriots”. And while I can certainly believe that the Crows would have enough motivation to fight back against the Antaam, given that it is in direct opposition to their own goals, I cannot understand why they are suddenly suggested to be morally good. They are assassins. They treat their people like tools and murder for money. Even as recent as the Tevinter Nights story Eight Little Talons, it is addressed that the Antivan Crows are in it for the coin and power, with characters like Teia being outliers for wanting to change that. It makes the use of the older codex all the more confusing, as it sets the Antivan Crows up as something they are no longer portrayed as.

I personally think it would have been really interesting to explore a morally corrupt faction in comparison to say, the Shadow Dragons. Perhaps even as a protagonist, address things like the enslavement of “recruits” to make the faction at least somewhat better. (They are still assassins, after all.) Instead, we’re just supposed to ignore everything unsavory about them, I suppose…

We could discuss even further examples. Like how the Lords of Fortune pillage ruins but it’s okay, because they never sell artifacts of cultural importance, supposedly. Or how the only problem with the Templar Order in Tevinter is just the “bad apples” that work with Venatori. I could go on, but I don’t think I have to.

It is because of all this sanitization, that I cannot believe this was simply over-correction on a developmental part. Especially when there is still racism in the game, in other forms. The impression I’m left with feels far deeper than that; it feels corporate. As if a computer ran through the game’s script and got rid of anything with “too much” political substance. The strongest statements are hidden in codex entries, and I almost suspect they had to be snuck in.

Between a Racism Simulator and just ignoring anything bad whatsoever, I believe a balance is achievable; that sweet spot that actually has something to say about what it is presenting. I know it is achievable, because there are a few bright spots of this that I’ve encountered in Dragon Age: The Veilguard too. For example, some of the codex entries like I mentioned, and almost all the content with the Grey Wardens thus far. It is a shame there is not more content on this level.

Dragon Age: The Veilguard is overall still a fun game, in my opinion. But it’s hard to argue that it isn’t missing the grit of its predecessors. The sharp edges have been smoothed. The claws have been removed. The house has been baby-proofed. And for what purpose?

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[hattedhedgehog]

My (spoiler-free) thoughts on Dragon Age: The Veilguard

The review embargo has lifted and I can officially say that I've played through Dragon Age: The Veilguard early! 

Here are my spoiler-free thoughts and personal opinions on the overall gameplay experience: 

Narrative:

Rook's dialogue and decisions impact SO MUCH of the game, and come into play later on. From companions remembering your beverage preferences, to whether someone you spared shows up later to help or harm you, it feels like the game is paying attention and that you matter.

The stakes are unbelievably high. The Evanuris are utterly terrifying villains, in ways that Corypheus wasn’t. You really feel the magnitude of their power on a personal level as well as a worldwide level.

Whatever your thoughts on him, Solas is FUN as a character. He’s fun to talk to, fun to talk strategy with, fun to rile up and verbally spar with and fun to grudgingly ally with. Now that he can drop his former act and appear to you as the Dread Wolf, and you get to see his memories, you and he team get to decide how to utilise his knowledge and how far your trust extends.

The setup and payoff of the story beats are absolutely superb. The emotional turmoil as a player of being ensnared by things that was foreshadowed earlier in the game is utterly exquisite. Every thread of the larger tapestry has been woven with so much love by the writing team, and every character’s arc tie into the larger story in interesting ways.

The characters feel like they have full lives outside of the player character. You frequently go exploring their home turf and can meet their friends and family. They interact with each other on their own and move about the Lighthouse to spend time together, leave notes for each other, and talk about each other even when the other isn’t there. The team feels like they all really care about each other as well as you. 

You can tell what your approval rating is with characters, but if you want to romance them you have to put some thought into it. Interactions and world events besides the heart on the dialogue wheel influence their attraction to you.

Gameplay:

The combat is very engaging, and I enjoyed how unique all the enemies were.

Abilities in the skill tree can be refunded so you can redirect to a different specialization, which is really handy if you’re indecisive and overwhelmed at first (like I get when choosing abilities).  Most companions can get healing abilities no matter what class, so you don’t have to worry about balancing your rogues/mages/warriors (most of the time).

Climbing, balancing on ledges, using ziplines and sliding down slopes made environments feel more immersive. Additionally I like how each companion has unique abilities that let them interact with the world (fixing mechanisms, breathing fire, summoning bridges from the Fade, etc), and learning their abilities alongside them helps you grow closer.

The wayfinder light makes everything feel streamlined, so it's way harder to get lost while exploring an area. I hardly had to look at the mini map at all, and usually I’m glued to it! This meant I could actually look around at the beautiful environments and appreciate how lively they were, even without NPCs.

The upgrade system is far less overwhelming than in Inquisition; there are a finite amount of weapons/armour/accessories to be found, which are designed for each specific character like in DA:O and DA:2. There's also no longer crafting from scratch. If you loot an item you already have, it automatically upgrades the single item rather than giving you duplicates.

You know that frustration of coming across higher-level armour that just isn’t as flattering as your current one? Not to worry, you can collect “appearances” which you can toggle on as the visual for the armour while still retaining the benefits of the original.

I cannot stress enough how simple and easy to use the inventory is. It's heavenly. 

Using the shops of specific cities increases your reputation within those cities, which is a good incentive to explore and use the shops. I usually hate in-world shopping but here it was simple, and thinking about it tactically worked pretty well.

Quests sometimes reach a point where you can't continue at your current place in the story, and must return to in later acts. When re-exploring familiar areas, everything feeling big enough to be fresh with each visit, and new loot and codex entires appear.

Edit: something I forgot to mention. In character creator, you get to make your Inquisitor after you make Rook. The build menus are all the same, so manage your energy accordingly for doing it all again immediately after for your Inky. I spent an hour and a half building my Rook and wanted to get right to playing, and had to re-wire my brain a bit to be patient and keep going with the CC. (Seeing my Inquisitor with new graphics was awesome though).

A couple little things I appreciated:

The control sounds are very pleasing. From the whoosh of opening the combat wheel to the clinking of upgrades to the subtle whir of holding the decision button, they're a nice touch.

If companions are interrupted in conversation by combat, they resume it afterwards with a "what were you saying before?".

Photo mode is so fun to play with, and you can adjust blur/brightness/lens/depth within the scene. You can also toggle on and off the visibility of your Rook, your party, NPCs and enemies!

Assan learns new interaction tricks at the Lighthouse as the game goes on.

Nitpicks:

Overall I had an incredibly positive experience. The gripes I had were tiny things like:

I genuinely like the new art style of the game as a whole. However, the blurriness of some of the features in contrast with some elements being very crisp was distracting.

When trying to sell valuables for faction points without using Sell All, it takes quite a long time to count up all the individual sales, and it isn't a live counter. So it's kind of annoying if you get +3 points for each item you sell, need 150 points to get the next tier of items, and over 10K worth of valuables that you want to sell to other factions. 

If you do lots of quests without returning to the Lighthouse often, occasionally companions at the Lighthouse will have dialogue pertaining to the quests you've just finished as if you haven't done them.

You can pet the dogs and cats in the cities, but Rook turns their back to the camera to do it and it blocks most of the action unless you rotate quickly.

Gender stuff:

I was incredibly moved that not only can Rook be trans/nonbinary in the character creator if you so choose, but they get options to feel differently about their identity and journey, and it impacts their dialogue and how they relate to other characters! To access this make sure to interact with Varric's Mirror in your room in the Lighthouse. There are many conversation options throughout the game to discuss your identity with other characters, or relate your change of self to other situations. Crucially, it comes up when entering a romance and you have to communicate with your partner about it, which I never even THOUGHT of including in a game because it seemed impossible to even allow trans main characters to begin with.

There are also multiple trans and nonbinary characters throughout Thedas. What I found the most realistic was that just like in life, it is a consistent presence in any character's life, and comes up in conversation more than once. I have never seen a game this forthcoming and open about the topic of transitioning, and it was so validating. 

Final thoughts:

I adore the other games in the franchise. Something about The Veilguard affected me in a way no other game has. I cried multiple times while playing this game, both from joy and sadness. What struck me most is that the people who worked on this game REALLY listened to feedback from previous games, and were very set on making a piece of art that meant something to people. Even during the last few years of me testing the game, things have been adjusted and changed in direct response to our reactions and suggestions. It's surreal and quite touching.

Mileage will vary, but my playthrough was 70 hours on very low difficulty and I haven't done every side quest yet. I could easily have spent more than 100 hours in the game if I wasn't pressed for time.

I hope you enjoy this game as much as I have. See you in Thedas.

[heavenangelly]

I feel like people are constantly trying to find ways to make the law seem fake. Telling people you’re being delusional, that it’s just a placebo effect, that it’s not real, that it can’t happen, etc. Is it so hard to believe that there is a power within you that can make your life marvellous? That can make you free? That anything you ever desire, can become true instantly? That you’d never have to struggle again? Doesn’t it sound amazing? Because it’s way better than believing any of those limiting beliefs. You have a way OUT with the law. Why do you want to believe otherwise?

All that you’ll ever have to do to “get” your desire is to be the person that already has it / is it. Since you are now that person, it is an assumption. And since the law is literally called, the LAW of ASSUMPTION, that’s all you’ll ever have to do. It’s so fucking simple. And the LAW will never change. It’s been around since humans (possible animals) existed. The only difference is that humans have now become aware. That people (Neville, Abdullah, Edward, bloggers, etc) have started preaching and showing people the truth of life and the power you hold within you.

STOP trying to find ways to prove to yourself that the law is fake. What you seek, you shall find. And in your seeking, you manifest what you’re seeking, so you’ve already lost.

You are always manifesting. Throughout your whole life you have manifested things, consciously or unconsciously (excluding trauma and things you didn’t know about). You have always been a master manifester. You have always chosen to believe/assume things. And it has ALWAYS been reflected. The law never fails.

Actually PRACTICE (consciously) the law and you will see what I mean. Go on your journey and explore your unlimited power. Understand who you are, how to manifest, and why the 3d doesn’t matter. Then, you will be destined to succeed.

And please, stop letting other peoples beliefs become your own. They’re irrelevant and do not matter in your world. You create; so only YOU matter. Become confident in who you are and what you believe in and these measly, insecure, desperate people will fade away. Become confident in the law by applying it. You are God. Wake up.

Another note is, is that none of these bloggers gaf about TikTok’s or some random npc’s beliefs because they have practiced the law and have SEEN their world MELT before their eyes to accommodate them. They know it, they’ve seen it, they believe it. They have no reason to doubt. None of us would lie for shits and giggles.

Do not let the world sway you from your power.

Xoxo,

Heavenangelly.

[orteil42]

some undifferentiated thoughts about my Starfield playthrough as i have them. i am a game developer with a strong interest in procedural generation and i've enjoyed a bunch of other bethesda games so this might get pretty mean sorry

(this is a long one)

starfield dialogue is already exhausting me "oh you must've been living under a moon rock ;)" get it! because they're in space! this would've been too corny for the Jetsons

there's a kind of cheap dusting of space theme over everything. the food isn't salmon but alien salmon. it's not seaweed but alien seaweed. cooking alien stir-fry. come on

cannot get over how clumsily the theming is handled. books, board games, weapon names revolve heavily around space. these people have been living on alien planets for hundreds of years yet have this unending sense of novelty about it. the game takes itself completely seriously but feels like it's attempting to parody itself

people's EYEBALLS are CLIPPING THROUGH THEIR EYELIDS

a woman is speaking to me in french. her accent is about as believable as her haircut

these are some of the worst reflection maps i've ever seen

next to nothing is interactive. you can sit in chairs and sleep in beds and that is about it. can't even drink from people's toilets. disgraceful

game helpfully crashes 5 seconds after i decide i should get some sleep. very handy!

my character has not said a single thing since i started playing. not one peep. this is an unmitigated improvement over Fallout 4 i'm so glad honestly

the more i poke around the big city the more the NPC quips feel like something out of gen-1 pokemon. can't get enough of this coffee :) this city is where it's at :) spacesuits are comfy and easy to wear

very strange sense of altered reality from the quest dialogue too. has anyone at bethesda met a person before? i move on to some mission that has me scanning wildlife on a faraway planet hoping this will, somehow, feel less alien than human conversation

just as with No Man's Sky, every planet is uniformly dotted with equidistantly-placed points of interest that you slowly make your way to (no vehicles besides your jetpack) which always turn out to be some cave or building identical to those you've cleared before

unlike with No Man's Sky, the seamless exploration is faked and the biodiversity is nil. you do get an impressive amount of raw loading screens however

the prefab bases and power stations found everywhere on planets seem to have very sparse, very specific slots for spawning consumables, which results in encountering some giant industrial installation in the middle of nowhere with, i don't know, a loaf of whole-grain sandwich bread just casually sitting next to it all proper. there is no breathable atmosphere here. who is eating this

planetary traversal is a CHORE. i am saying this as someone who loved Death Stranding

heinous "hold to confirm" buttons sprinkled in various flow-breaking places throughout the interface

enemy AI is abominable. nobody is pathing their way to get my ass. "must've been the wind" taken to the next level. an infant playing peekaboo has more object permanence

hoisting yourself up on ledges when jumping is…nice

companions randomly nowhere to be found. persists through multiple fast-travels and loading screens until, just as randomly, they pop back up

storage space is now limited! unlike in Fallout 4 and virtually every other bethesda game, your containers now hold a finite item capacity. god forbid we let the player have fun

baffling inventory UI. i imagine there's a mod out there that completely overhauls it the way SkyUI did for Skyrim. this should not be needed! how are your UIs getting worse a decade later!

scanning the precious few species inhabiting some dusty planet; one of them is this arching red root i've already seen several times before. my job done in this biome, i travel (read: teleport with a loading screen) to the polar region to find some other species. the first one i catalogue is the exact same red root again but this time it's named "boreas root" todd howard is a genius

some alien horror comes at me full fangs out. i hop on a pebble. obscenely, i am safe

procedural terrain generation beyond dull, impossibly unimaginative. these people have not had one critical thought on what makes a procedural world interesting. beginning to feel validated in my belief that only i should be trusted with proc gen. along with perhaps tarn adams

jokes aside this is making me feel genuinely insane. there have been excellent procedural generation techniques that produce compelling explorable maps for decades now. bethesda absolutely has the budget and know-how to do miles better than this yet somehow they just…do not? the same way Pokemon has decided to just no longer bother with their mainline games despite being the highest-grossing media franchise in history? hello? what is for real going on

some of the most cynical breadcrumbing i've seen in years. approaching some random cave and this person in space gear, who in the vast immensity of the infinite cosmos just happens to be snapping pictures right here, tells me more-or-less verbatim "if you like this place, you should see this other place" [other random cave has been added to your map.]

i do not like how good this makes No Man's Sky's gameplay look. it depresses me how much i have to hand it to No Man's Sky for at least not fucking up this bad. please stop making me wish i was playing No Man's Sky instead this is grotesque

i think i've exhausted my interest and patience for this game at the moment. i'll get back to the main story at some point and try some other systems ie. crafting and base-building to see if there's any engagement to be found but so far, my god. my god

[endless-ineffabilities]

chemical override (10)

Ewan Mitchell x actress!reader

a/n: as dictated by the results of poll #6, this chapter will include stunt training, clubbing, and an accident. Plus, you've got tub anon to thank for... well... the tub scene :) Oh, and this is kind of 18+. Just a tad.

series masterlist ▪︎ main masterlist

Matt and the reader eagerly explore the uncharted waters of their budding relationship. Ewan is booked and busy with the preparation for his new franchise. Will Ewan and his darling even find time for each other, or should they just take this opportunity to let go?

The internet, ever so informative, lets you know that Ewan and Jenna’s arrangement is in its initial stages before he even calls to tell you. 

Their first interview with Josh Horowitz is immediately followed by another feature on the movie set, with the two talking about the pre-production, what they liked about the script, and their chemistry, which according to them, came naturally and did not require much work at all. It was practically the thing they had to work on the least. How lucky. 

A lighthearted reprieve came in the form of a meme that started circulating not long after their interview with Josh. In it, Ewan is caught looking like he's either malfunctioning or deep in a philosophical crisis. The internet ran with it, with captions like, ‘When you realise you left the oven on at home’, to comparing him to an NPC glitching out.

When you asked him about it, he quickly stammered that he simply spaced out. Sure. It was hilarious, nonetheless.

Your publicist Mallory had commented that soon Ewan and Jenna would be obliged to go on pap walks, something that would appear casual and separate from the confines of the project that they’re working on. Something that signals that their relationship is making it into the real world.

“That whole casual ‘just friends hanging out’ vibe they’re gonna push? It’s all part of the gig,” Mallory shared. “Next thing you know, they’ll be taking long walks on the beach or grabbing coffee in some trendy LA spot.”

You’d be lying if you said it didn’t sting. Even just a little. Sure, you know what the business is like. You’ve been on the same end of that deal just recently, with your own film’s PR efforts. But this arrangement that Ewan has doesn’t seem like the usual short-term fling to drum up buzz. It feels… heavy, like something that might actually stick.

“I’d be lying if I say I don’t find it all annoying, darling, but I try to look at it now as part of the job, you know?” he had said, when he phoned you one evening – his afternoon – to let you know that his stay in LA would be much longer than expected. 

You responded with, “Oh, yeah, I completely understand.” What else can you do? You aren’t together – you don’t have a claim to him, and vice versa. You thought that would make things better – easier – but you’re still waiting for that sense of comfort to kick in.

This is for the best, you would remind yourself every time a new headline surfaces. 

It’s only been a month since you last properly saw Ewan, since that night on the rooftop. In the early days, he messaged every day, called whenever he had a spare moment. But slowly, the calls have become shorter, more sporadic – chalked up to his increasingly busy schedule. Your tones have become more dispassionate – he blames it on his exhaustion, profusely swearing that he misses you so fucking much, but something feels different. 

Your job keeps you busy, with your commitments related to the new season of House of the Dragon, event appearances, and gearing up for the release of your film with Jacob. You are even invited to the upcoming Vanity Fair Young Hollywood Ball, an exclusive party to be held in New York.

And Matt is a more than welcome distraction. 

Matt, who has begun spending more time in your apartment after Ewan’s temporary move to LA. Matt, who brings you flowers that are apparently ‘beautiful, but pales in comparison to you’. Matt, who is unfailingly a gentleman, respecting your boundaries and not making a move since that time on your couch after your first date, when you told him to wait. 

He sits with you by your kitchen counter, in a disarmingly tight white shirt that leaves little to the imagination, one sturdy hand nursing a cup of coffee and the other on the small of your back to support you as you sit on the high stool, and you suddenly don’t want him to wait anymore. 

“Have you decided on what you’ll be wearing to the screening tonight, love?” he asks. 

“Why? Does it have to be pre-approved?” you playfully quip, narrowing your eyes at him.

“Ah,” he nods, smiling, playing along, “of course, of course. You think I’m an easy man to date? You’ve got to keep up with my standards, as beautiful as you already are.”

You laugh, playfully mussing his hair, and he catches your wrist before it drops back on the counter. He says, “I ask because I wanted to match you, so to speak. We’d be like two peas in a pod.”

“Oh,” you snort softly, “or you know, like Tweedledee and Tweedledum?”

“Funny girl,” he muses, before leaning forward and capturing your lips in a soft kiss, caffeinated and warm and Matty. You notice that his hand on your back is pressed firmer – he didn’t want you to slip when you leaned in. 

Charming bastard. He isn’t making things any easier… or maybe he is. 

Maybe he’s it. 

But the moment’s broken by a loud, offended-sounding meow. You look down to see Sansa, staring at Matt like he’s personally responsible for all the world’s problems.

“Hey, babygirl,” Matt croons, extending a hand toward her. Sansa, the biggest diva of a kitten, just gives him a slow blink before trotting off, clearly unimpressed.

“Calling her babygirl isn’t going to make her warm up to you,” you tease.

“She already doesn’t seem to like me,” he replies, scoffing. “Which is a shock, pretty much, how can she not?”

“So humble, Matthew.” You smile at his effortless charm, his easy personality. That’s all you seem to be doing nowadays. Matt is like your personal ray of sunshine. 

“I’ll win her over,” he declares confidently, sitting upright. “Anything for my lady.”

You roll your eyes. “How very Daemon of you.”

“Actually,” he laughs, “Daemon would probably feed her to Caraxes for being difficult.”

“Matthew!”

“I’m kidding!”

Sansa meows even louder, bounding away towards your bedroom. 

“Leave my Sansa alone,” you say, pointing at him accusingly.

He gives you a sly grin. “I will… if you come here and give me another kiss.”

Before you can respond, he slides your stool closer to his with a smooth movement, catching you off guard. You find yourself practically in his lap, his thighs pressing against yours as he waits, looking entirely too pleased with himself.

“Okay,” you sigh deeply, narrowing your eyes, unable to mask the smile that graces your lips. “One kiss, but only for Sansa.”

“Oh, shush and kiss me already, love.”

The film screening had been a private event, by invitation only from those who worked on the film. Edward Bluemel, Matt’s good friend, is a fellow actor marking his directorial debut with this film. For a first go, it was impressive, gripping from start to finish. Almost as much as Matt’s hand resting just above your knee, his thumb absentmindedly tracing soft circles into your skin.

Your cheeks had flushed when a particularly steamy scene came on the screen, and it might have been the nervous gremlins in your mind, but you swore Matt’s hand inched higher up your leg.

Now, on your couch, his hand is even higher. He hovers over you, his breath heavy and uneven as his fingers tease at the warmth between your thighs, so close to where you’re already aching for him. 

Maybe it was all the dirty martinis you drank at the open bar after the screening, or maybe this was a long time coming. Either way, you want him, and from the way his lips move urgently against yours, he wants you too.

It dawns on you that the tension is no longer something you can talk yourself out of.

He pulls away, and you protest with a mewling whine, your body arching into him. He nearly growls in frustration, the unspeakable sound you just made having a direct line to his hardened cock. With a gentle tug at the nape of his neck, you pull him back down to your lips, but he resists. 

“We have to slow down,” he chuckles mirthlessly. “Because we’re about to cross a line that I won’t be able to hold back from, love.”

“Matt – ”

“I understand – ” He licks his lips, letting out a slow and controlled breath. “ – that you want to wait – ”

Your confession comes out slow and measured, letting him know that this is what you really want. “Maybe I don’t want… to wait anymore.”

“Say that again,” he says slowly, his eyes darkening in lust. 

“Maybe I… I want you to fuck me.”

“Maybe?” he whispers, his voice rough, practically pleading.

“Oh, just fuck me.”

That’s all it takes for him to snap.

He undresses you in record time, ripping off every item of clothing from your body with an eagerness that betrays just how hungry he is for you.

Neither of you even bother to travel to your bedroom. At some point, your entwined naked bodies slip off the couch and onto your plush carpet. 

And you have a heated… What was it called again? 

Oh right – a damn good roll in the hay. 

The water is still warm in your deep clawfoot tub, steam rising gently from the surface. You lean back, head resting against the porcelain, that blissful post-sex daze settling over you. 

Matt slides into the water opposite you, his movements slow, deliberate. His eyes haven’t left you since he stepped in, and you can feel the weight of his gaze lingering on your skin. It isn’t just the remnants of your earlier intimacy – though that heat still hummed in the air between you – it’s something more. Something you can’t name and maybe you’re afraid to, but it tugs at you all the same.

A small smile plays on his lips, the kind that made your chest tighten – half teasing, half dangerous.

“Enjoying yourself?” he asks, voice low and smooth.

You exhale a soft laugh, running your fingers lazily through the water, trailing small ripples across the surface. “I’m not exactly complaining, am I?”

“Good. Wouldn’t want you to have second thoughts.” His tone is light, but the undercurrent of meaning isn’t lost on you.

You close your eyes, letting the warm water soothe your tired muscles, but even with the comfort of the bath, you can’t quite escape the one person lingering in the back of your mind. 

Matt isn’t Ewan, but he’s here, his presence steady, his charm disarming. He makes you laugh, makes you feel wanted in ways that are simple and uncomplicated, and maybe that’s what you need right now. Maybe it was okay to let yourself enjoy this, to live in this moment without overthinking what it meant.

“Penny for your thoughts?” Matt asks, leaning forward.

You open your eyes, catching the glint of amusement in his. “Just... thinking.”

“Dangerous territory,” he teases, reaching for your hand.

“Hmm, maybe,” you murmur, meeting his gaze. “You’re too charming for your own good, you know that?”

He chuckles deeply. “I’ve been told. But I like to think it’s part of my appeal.”

You roll your eyes, though you can’t help the smile tugging at your lips. “Cocky bastard.”

He grins, leaning in even closer, his breath warm against your cheek. “Takes one to know one.” His hand travels to your leg underneath the water, massaging gently.

“I’m serious, though,” he says softly, his voice taking on a more earnest tone. “I don’t want you overthinking this. We’re good, yeah?”

You nod, but there is a flicker of something else in your chest. Guilt, maybe? But Matt is right here, and he isn’t asking for anything more than what you could give, and for now, that is more than enough.

“We’re good,” you whisper, leaning in to press a soft kiss to his lips.

He smiles against your mouth, his hand moving to cup the back of your neck, pulling you in closer. “Good,” he whispers back, his voice a low rumble that sends a shiver down your spine. “Because I’m not done with you yet.”

You laugh, the sound muffled as he kisses you again and positions you on top of him. You shuffle forward and discover a very obvious indication that he’s ready for round two of rolling in the hay. Or in the tub. Whatever works. 

He looks absolutely enraptured when you ride him, your motions causing tremors in the water. 

And in the sheer pleasure he gives you, surrounded by flickering candlelight and the smell of lavender, you allow yourself to let go.

The event has the industry buzzing - an exclusive event by Vanity Fair celebrating the rising stars of Hollywood. A masquerade party, the notion of which excited you to no end. You’d only read about such in books, in its medieval iterations, all poofy skirts and velvet waistcoats, the whole concept full of prestige and mystery. 

You spent days prepping with your team, the anticipation building until it felt like a living thing inside you. Your dress, a beautiful piece from Atelier Versace, fits like a glove, one side made of draped black sequins shimmering like liquid night against your skin. The theme is Midnight Elysium, and you look every bit the part - dangerous and glamourous and untouchable. 

Your makeup team did an impeccable job. Your eyeshadow resembles a swirling galaxy, a blend of silver and noir. Your lipstick is a perfect nude shade that matches your skin tone and your features.  

But then there was the mask. The final, necessary touch. Delicate black lace that settles over your eyes, framed with gold filigree and flecks of silver – sharp and ethereal at once. It was a piece of art, something you personally commissioned from a local designer in your hometown.

In a room where everyone claims to know everyone, a mask can be more than just a costume piece. It can be a weapon – giving you the freedom to be both seen and unseen. 

Stepping into the nightclub is like slipping in between worlds. Black velvet drapes line the walls, catching the glow of the minimal lighting – gold and silver chandeliers hanging like constellations. The bass from the music pulses underfoot, sending vibrations through your veins. Faces are obscured by extravagant masks, but you are able to recognise some of them if you look close enough. Milly is speaking to someone by the bar, and you remind yourself to pull her aside for a chat later. Timothee is introducing his date to a small flock of people. And Jacob is bounding right for you the moment you make eye contact. 

“There’s my leading lady,” he greets cheerfully, swooping down to kiss you on both cheeks. He’s wearing a metallic silver vest and trousers, along with a white mask that covers one side of his face like The Phantom.

“Wow,” you say, making a show of appraising him, looking at all 6 foot 5 inches of his figure up and down. “You look like a handsome disco ball.”

He laughs, the sound unmistakable even in the bustling nightclub. “And look at you! What are you, a cyberpunk witch? A sleek dominatrix?” 

“Careful now,” you warn him, “or I might just hex you into getting me a drink.”

“Coming right up,” he says, but his attention is pulled by someone calling his name. “Hold on a sec, I have to introduce you to some of my friends.” You let him lead you further into the room, and you’re swept into the rhythm of it all, moving through the crowd as if you belong – because you do. You’re slowly getting used to the weight of eyes on you, but tonight, it feels as if there’s a shadow you can’t quite shake. 

Your personal shadow in a room full of masked shadows. Your skin prickles, an awareness blooming under your ribs. In all the fuss leading up to this event, you hadn’t really bothered to check the full roster of attendees.

After several rounds of conversation, you excuse yourself for a moment and stand off to the side to take a breather. 

And then you see him.

Ewan stands across the room, a drink in hand, his black leather overcoat tailored to perfection. The mask he wears, a sharp cut of black and gold, adds a dangerous air to him. His effortlessly tousled hair sports a smattering of gold embellishments, like streaks of pale blonde hair. You take him in, every inch of him, that mischievous curve of his lips and the glint of his blue eyes underneath that mask. 

It hits you like a tidal wave, like a fucking hurricane, the longing you’ve tried to suppress for weeks. 

You shouldn’t want him this much, not when you both agreed to the break. To keep some distance. His fake romantic arrangement had made sure of that. And after everything, you knew that some separation was what you both needed. 

But seeing him now, looking at you like he’s starving… it’s enough to unravel every careful thread you’d stitched together since you last touched. You want to look away, pretend that this is just another night, that he’s just another fellow actor among the crowd. But the pull is too strong. It’s as if your legs move on their own volition, and you slowly move through the crowd, almost subconsciously drawn to him. 

He steps deeper into the shadows of the club as you approach, disappearing into one of the more secluded alcoves draped in heavy black velvet. No one will see you there. No one will know any better.

The world narrows down to just the two of you, and the music becomes a distant hum. It’s quieter, darker, and for all the trappings of the Hollywood elite, Ewan is far more intoxicating. 

“You’re here,” you whisper, half in question, half in disbelief.

But he’s already moving towards you, his eyes dark and hungry behind the mask. The air between you crackles with an undeniable need – weeks of distance, of longing, building up to this moment. He’s close enough that you feel the warmth of his body through your dress, and you so badly want to forget that this is a bad idea.

“I can’t stay away,” he says, his voice low and raw, like it’s costing him to hold back. “Not tonight.”

You swallow, your heart pounding in your chest, every rational thought slipping away as his fingers skim the bare skin of your waist through the slits in your dress. “We… we can’t,” you manage to say, but even to your own ears, it sounds weak. Oh, who are you trying to fool?

“How can I not? Fuck, how can you look like that and expect me to just walk away?”

You want to say something, something sensible, something to remind him of the stakes. But nothing comes to mind, not when his hand brushes up your arm, raising goosebumps in its wake. His other hand slips to your waist, pulling you closer until there’s no space between you. He dips his head down, breathing against your shoulders and your neck, taking you in like a vice. 

“Ewan,” you finally croak. “We agreed not to – ”

“I don’t bloody care,” he cuts you off, his mouth inches from yours. “We agreed to give it some time, sure, but I never agreed to stop wanting you. Besides, I make good on what’s asked of me. I play the part. I deserve to be rewarded, don’t I? And you’re the only prize I desire.”

His words hit you hard, melting any resistance you’d been clinging to. 

“Oh? So… so I’m just a prize now?”

He only smiles. “The only one worth winning.”

Before you can think, before you can stop yourself, you pull him closer and crash your lips into his. 

The kiss is hard, fierce, his mouth feverishly attacking yours. He tastes bittersweet, all hard bourbon and cigarettes. You’re certain that the lipstick your makeup artist painstakingly applied would be wiped clean off. His hands grip you harder, fingers digging into your flesh, pulling you closer, deeper, like he can’t get enough.

You break apart, gasping for breath. His lips are slick, shining in the occasional flicker of neon blue and red lights, his mask casting shadows across his sharp features.

A bright flash from the party's official photographer erupts in the corner, thankfully not pointed in your direction. Still, it momentarily shakes both of you back to reality. 

“Come with me.” His hand slips into yours, fingers curling possessively as he pulls you away from the cacophony of the club. You barely have time to react before you’re being led down a narrow, dimly lit hallway. He pushes open a door, leading you into a smaller room bathed in that same cold, electric blue. Plush seating is arranged haphazardly in the corners, but the space is mostly empty. The low hum of the bass still thrums in the distance, but it’s reduced to a faint echo. The smell gives off cigarette smoke and spilled liquor.

“Smoking area,” he says with a half-smirk, glancing around the room as if seeing it for the first time himself. “I think.”

“You think?” You raise an eyebrow.

He shrugs, utterly unconcerned. “Who cares? It’s just us in here.”

You shoot him a look, glancing back at the door. “Someone could walk in.”

He chuckles, stepping closer, that familiar heat radiating off him like a furnace. “It’s a party, darling. They’re probably wasted out of their minds. And besides…” He taps the edge of his mask, his eyes glinting mischievously behind the black and gold. “The masks?”

You bite your lip, trying to maintain some semblance of control. “And if someone does walk in?” you ask, arching a brow. “What then?”

He steps closer, crowding into your space, the tension thick between you. “Then they get a show,” he says, his voice playful and teasing, but laced with something darker. 

“Are you fucking serious?” 

“You can still walk away, darling,” he offers, trying to bait you when he knows full well that he already has you hooked. “Or, you can just shut up and kiss me.”

So much for giving it time. Ewan’s lips find yours once more, just as desperate, and you barely notice when he directs you to the seating, your back colliding with its velvet exterior. His low groan sends a wave of heat pooling in your stomach, and you think to yourself, this was a terrible idea. 

Your hands roam, finding the planes of his chest. He smoothly takes off his leather overcoat, revealing his bare torso underneath. The sight of it makes your head spin, and you croak unsteadily, “Ewan… not here, baby, we can’t – ”

“I know, darling,” he croons, his hand cradling your face. “I just wanna kiss you. I just want you… to touch me…” His other hand takes yours and drags it down the firm lines of his stomach, a desperate plea in his eyes. “Please, just – ”

The moment is abruptly shattered by the sound of giggling from the hallway, getting louder. Suddenly, the door opens and in stumbles a pair of girls, one of them you recognise to be Jenna. 

“Oh!” The other girl exclaims, clearly delighted by the situation she’s just walked into. She pulls off her mask, revealing herself as Emma Myers. “We found him! We finally found your date.”

Your heart plummets, right down on the liquor stained carpet.

“Hi,” you manage to squeak, getting to your feet and smoothing down your dress which had ridden scandalously higher up your thighs. “I’m – ”

“Oh, I know who you are,” Jenna says, shaking your hand, not the least bit bothered by the state she found you and Ewan in. “I love your work. I’m Jenna.”

“Oh… thank you – ”

Emma steps in, grinning. “Hi! I’m Emma. I’m such a fan.”

“Oh my god, I should be saying that to you guys!” you blurt, feeling a rush of relief at their easy demeanour. “I love Wednesday.”

They both gasp, and soon the three of you are exchanging compliments like old friends, chatting about each other's work with enthusiasm. Ewan, still seated, watches the scene unfold with barely concealed frustration. He eventually stands, shrugging his leather coat back on, and glances at Jenna.

“One of our producers is here,” Jenna explains cheerfully. “She’d love to chat with both of us.”

Right. Ewan’s her date. The word echoes in your mind, but the jealousy you expected to feel is oddly muted now. 

Ewan speaks, addressing only you, “Darling, will you – ”

“I’ve got her,” Emma declares, looping her arm around yours. “I’ve got so much I want to ask you!” Before you know it, she leads you out of the room like you’ve been best friends for years.

Ewan’s eyes stay on you, full of frustration and yearning, even as he and Jenna follow you out the door.

But you barely see him for the rest of the night.

The party is a blur of celebrities and conversations, but your mind keeps drifting back to that stolen moment in the blue-lit room. Eventually, your social battery runs out, and you slip out of the club early, unnoticed by most. 

Back at your hotel, you peel off your dress and drop onto the bed, staring up at the ceiling as the events of the night replay in your head. The feeling of his hands on your skin, the heat of his body pressed against yours – it’s all too much.

Your phone buzzes on the nightstand, snapping you out of your thoughts. Ewan One-Eye flashes across the screen.

You hesitate, thumb hovering over the screen, but you pick up. His voice is low, almost cautious. “You left early.”

“I was tired,” you reply, voice soft. “The party was great but it was... a lot.” Mainly because of him.

A beat of silence follows, and you wonder if he's wrestling with what to say next. “Are you okay?” You can almost picture him running a hand through his hair, jaw clenched, eyes dark with worry. 

“Yeah, I’m okay,” you say, unable to hide the tremble in your voice. 

Another long pause, with only his slow breathing on the other end. 

“I hate this,” he finally says, voice barely above a whisper, the raw emotion in his words hitting you like a punch to the gut. “I fucking hate that he gets to have you, and I don’t… and I can’t… ” He cuts himself off, and you hear the snap of his lighter followed by his sharp exhale.

You bite your lip, your throat tight with emotion. You’ve both been so careful, dancing around each other, pretending that you could stay apart.

“I’m flying back to London tomorrow night,” you blurt out, the words rushing out before you can stop them. It feels like a confession, like you’re admitting defeat.

“I need to see you before you go.”

“Ewan, we agreed – ”

“Fuck what we agreed!” His sudden outburst takes you by surprise, and you hear the raw need in his voice. “I don’t care about the arrangement, I don’t care about the distance. I just... I need you.”

You want to tell him that you need him too. You want to throw caution to the wind and agree to being together in secret despite the false romance he has to portray to the world. But you can’t. 

“I...” Your voice falters. “We’ll see each other soon.” It doesn’t feel like enough. With a soft sigh, you add on a lighter note, “Alyna still has to kick Aemond’s ass, you know.”

A beat passes, and then you hear his tired laugh on the other end. “Right,” he chuckles softly, the sound both comforting and heartbreaking. “Wouldn’t want to keep the fans waiting for that.”

“Yeah, well,” you say, trying for casual, trying not to let your voice crack, “someone’s got to put Aemond in his place.”

“Hmm, well if that place happens to be right in Alyna’s arms, I doubt you’ll hear any complaints about the script from me this time.”

You can’t help but smile at his teasing, but it only deepens the ache in your heart.

“Ewan…” you begin, but the words hang in the air, unspoken. 

“I know, darling,” he replies, his tone resigned yet gentle. “I miss you too.”

The training room is alive with the sounds of clashing swords and laughter, but you can’t help but feel a different kind of electricity buzzing in the air. Maybe it’s just the way Matt looks at you, as you rehearse a scene where Daemon helps Alyna brush up on her sword fighting. 

You lunge forward, initiating the first move with confidence, and he counters effortlessly, the blades clashing in a symphony of steel. The practice moves are intense, each swing bringing you closer. His eyes darken with focus as he follows your movements, and for a moment, it becomes easy to forget the rest of the stunt crew in the room. 

“Nice footwork,” Matt compliments, stepping in closer. His body brushes against yours, sending a rush of heat through you. Ever since your night together, he has only been more brazen with his affections. “But you’re leaving yourself open here.” He demonstrates, his sword brushing against your side as he adjusts your stance.

“There,” he says, his voice dropping lower, “feel that?” You swallow nervously, grateful that the stunt coordinator had moved on to Harry in the far side of the room.

“I think I might be too open,” you manage to say, trying to keep your tone light.

“Maybe,” Matt murmurs, stepping back slightly but keeping his gaze locked on yours. “But I can’t help but want to close the distance.”

As you move through the choreography, you both fall into a rhythm, and almost inevitably, the fight turns into something more playful. You circle each other, exchanging faux blows and laughter, the distracting banter causing the stunt director to approach and get you both back on track. 

Next up, you have to train for Alyna’s pivotal scene where she attempts to mount Caraxes as per Daemon’s command. 

As you practice the mounting technique on the mechanical dragon, you’re hyper-aware of every movement. The crew watches closely, ready to offer guidance. You grip the handles tightly, adrenaline coursing through your veins, and for a brief moment, you lose yourself in the character, feeling the thrill of the scene.

But then it happens. The Buck jolts unexpectedly, throwing you off balance. Time seems to slow as you feel yourself slipping. You try to brace for impact, but it’s too late. You land hard, the pain shooting through your ankle as it twists at an unnatural angle.

There is a stinging sensation too, by the side of your head, and all you think is – oh fuck. The world around you fades to a blur, just as chaos erupts.

When you finally regain consciousness, the sterile scent of antiseptic fills your nostrils. Your surroundings come into focus slowly, and your heart races when you realise you’re in a hospital room. The steady beep of a monitor is the only sound, punctuated by the faint rustle of fabric.

You feel his hand on yours before your eyes even land on his figure, slumped on a chair beside your bed. His head rests on his shoulder, his grip still lightly holding your hand. His brow is furrowed in worry, even in sleep. 

You feel lightheaded, and for a moment you worry that your concussion might be worse than it is, but no. It's just him. 

Then, the sound of your movement catches his attention. He stirs, his eyes fluttering open, and when he meets your gaze, relief instantly washes over his features. 

“Love… you’re awake.”

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💌 next chapter

Some notes in the margins...

Well, well, well. Yous were convinced that Matty would get the clubbing scene, helped by the red herring of his dancing video. Alas!

Is that Matty at the end there? Or a certain Mitchelly man? Hmm... one wonders. 💖

Complaints? Refund requests? Please direct your thoughts in the comments section below. I can 100% guarantee a satisfying solution. Or 70%.

Or, you know, bugger it. We're all in this together, better or worse ❤️‍🔥❤️‍🔥❤️‍🔥

[dedmerath]

Hell is NOT Forever! a Hazbin Hotel Fan game

Hi! I'm Merath, and I'm developing a HH fan game, where you play as a brand new Sinner Adam in a quest to redeem himself and find his place inside the hotel.

What kind of game is it?

This is an exploration game mixed with relationship development! Explore the hotel, avoid death, find collectibles and talk to the Hotel Cast to learn more about them and unlocking new rooms and guests. Fulfill character request, learn their secrets and get them to like you (?) and forgive you. (Yeah, you heard right).

See that GREY HEART? Get the characters from grey, to blue, green, yellow and RED and unlock their friendship.

Will there be romance in the game?

Romance is a Patreon Support Tier. We are not selling the game, it will be free! But we need support to create it and keep working on it, so, we will have support tiers that will unlock cool features, like romance and more!

Also: Romance will not be forced as a "MAX LEVEL" relationship, you should be able to choose between romance and further your friendship!

How many possible relationships will there be?

All we can get. For now, Adam can have his little harem like:

Angel, Alastor, Charlie, Husk, Lucifer, Nifty, Vaggie.

There are some more characters there that for now are NPC only. But might get their own heart in the future. And we plan to add more characters to the hotel, like Lute, Pentious, Mammon...etc. Again, if we get the support.

(Also, we include all ships, except maybe Cain.)

Will there be mini-games?

Yes. Support tiers. We are thinking cooking mini-game, drinking...?

I dunno, Adam likes it tough.

He can also take a relaxing bath!

When will the game be ready?

The beta is under development! So, we hope soon. (And I say we but its all a one person effort, so be patient, haha!)

Where can I support the making of the game?

Here on patreon! Thank you very much! =D Hope you all enjoy my content! If you have a question just ask!

Estará el juego en español también?

Si, el juego contara con idioma español.

------------------------------------------------------------------------------

Patreon Support Tiers:

The more monthly support we get, the more extras we can work on!

Collectibles System (Collect stuff to unlock prizes)

Friendship System (Befriend the cast up to "Friends")

Trophies/Achievements (Unlock cool trophies for Adam's room)

Extra Room: Bathhouse (Make Adam take a relaxing bath)

Bathhouse System (Make Adam take a bath with others)

Regrets System. (Be hunted by the shadows of your past, who will try to kill you on sight!)

Kitchen (Give Adam a place to cook food for others!)

Crafting System (Craft gifts and stuff for Adam’s room)

[catsushinyakajima]

Why Lance is fire and Keith is water

A big mischaracterization of Lance is that he's not a fiery guy, when in fact his personality resembles fire in so many ways. He's hot-headed, far more than Keith, and that's something that's easily missed because Keith is such a reactive guy. Majority of the fights between Keith and Lance are started by Lance. Lance is also quick to always call out bullshit. He's very passionate about what he does and he always has something to say.

Lance has a temper and I think its so crucial to his character and his dynamic with Keith because without it, their relationship becomes a lot more mellow. Most of the time Keith is just standing like an NPC and Lance will get irritated by that and have something to say, hence causing a fight. Lance has the fire, always has, and it simply reflects on Keith.

I'd like to second this point by saying Keith's personality resembles water. Not that he's completely chill and passive, although he can be. But he's extremely turbulent and malleable. If Lance will start a fight he'll match the energy-he'll shape himself into a fighter. Keith has always been moving around from place to place and he's always had to mold himself into what's most suitable for survival, the same way water clings to a glass. He's got a lot of emotional conflicts within him. The fact that Keith's characterization is very similar to water is also alluded to in the fact that Lance is very drawn to both the ocean (water!) and Keith alike. He can't stop pursuing either.

Now I'm not saying that Lance and Keith are opposites when I call them fire and water because I don't think they're opposites at all. Both can grow/spread to great lengths, both carry a storm, and both can also be kind and gentle and necessary to live (ex: a fire provides warmth and water provides sustenance). Water can fuel fire, the same way Keith grows Lance's fire. Fire can also make water steam and boil, the same way Lance makes Keith react. If the water is greater than the fire, the fire will fizzle out; but if the fire is greater than the water, the water will evaporate. They'd have to be on equal levels for this cause-effect relationship to work. And Lance and Keith have always been on equal level (despite any internal insecurities). They always been neck to neck.

Keith and Lance had great characters that could've been explored more. Regardless of if you ship them or not, they had the potential to be very well written foil characters. Unfortunately that didn't happen :(.

[earwig5]

it’s kind of crazy that both fallout new Vegas and fallout 4 have the same driving force for the first half of the narrative (find the guy who wronged you and make him pay) but Benny is so much more memorable and narratively interesting than Kellogg.

It’s a matter of a strong character foil versus a weak one, in my opinion.

Benny and the courier are very much alike. They are both ambitious people who are willing to do anything possible to stack the odds in their favour. Honestly, Benny and the courier are the same card, reversed.

The Sole Survivor and Kellogg are also intended to be character foils. The game tries to convince us of this with the scenes in Kellogg’s mind, where we see that he ‘isn’t so different’ from our protagonist after all. But we don’t know anything about Kellogg other than his backstory. How can he parallel the protagonist if we don’t know which traits he has? Which traits the two of them share?

(As a side note, I wish Fallout 4 had touched way more on the ‘Man/Woman Out of Time’ thing. The protagonist being frozen in the past + Kellogg being functionally immortal would’ve been really cool to explore! Especially in the context of grief!)

In the end, I think the reason Benny is a more powerful character foil is that he doesn’t disappear from the world when you kill him. The chairmen can mourn him, House will comment on it, and even NPCs across the Mojave will talk about Benny’s death!

In Kellogg’s case, the protagonist is basically the only person who knows he even existed! Once he’s dead HE’s DEAD! He disappears completely from the narrative! As soon as you leave fort Hagen, the game doesn’t bother looking back.

that’s why Benny is a more haunting force for new Vegas; particularly an independent courier. You are Benny’s legacy because you are what he leaves behind whether he likes it or not. People remember him as the couriers victim. Meanwhile, nobody remembers Kellogg at all. The memory of who Kellogg was dies with you, and you can choose to forget him.

[dailyadventureprompts]

So lately I've been running games that give players a lot of power when it comes to world building, encouraging them to make up facts about the world or npcs whole cloth as a regular part of play. Thing is, I play with a good number of people who don't consider themselves storytellers and tend to be quite intimidated by the idea of improv.

Some people (like myself and a few others I know) are endless fonts of ideas, eager to scribble in the margins of someone else's work, but for other folks it can be a real challenge to come up with things on the spot or work up the confidence required to be that kind of collaberator. As such, I've been working on techniques to help my more reticent players get accustomed to their own creative agency:

Give them a Scaffold: Often it's as simple as giving players an emotion they can tap into along with the prompt to make something up, whether it be funny or nostalgic or gross. I can say " This person who you need to get past to talk to your contact is annoying and doesn't want to let you through. What's pissing you off about them?" or " we open the sarcophagus looking for the amulet and we find something awful inside, what is it?" and the player will add the requisite detail with something they find relevant or horrifying. BOOM, instant engagement. Other times I'll have them describe something from their own past or a work of fiction they like, which most people can recall details about just fine when they'd struggle with making something "new".

Give them Homework: Making up stuff on the spot is HARD, so give them time to work on it ahead of time. Say I was prepping an adventure that happened at a mall, I might ask my players to make up 5 stores or NPCs each and give them a little ingame reward for posting them in the groupchat. Things like this can especially help if you're prepping an adventure in a region/town that's more focused on exploration and so requires more material than average.

[txttletale]

Can you elaborate on what you think would be the minimal needed changes to fix what you see as an issue in Civ? Civ has done fairly large shifts in some mechanics before, and "civ like" is still an interesting game space that can scratch certain itches

yeah i mean as i said, the baked-in racism arises from a certain set of core assumptions that i think lock it into that position, which are that civ is a

1) symmetrical

2) 4X

game about

3) 'real world civilizations' (deeply loaded terms ofc but that's how civ envisions them)

4) trying to 'win the game'

5) with a global

6) and transhistorical

scope

so, in its role as a symmetrical (1) game with victory conditions (4), civ as a text has to take positions on what constitutes a 'successful civilization'. as a (2) 4X game this definition also has to include some variation on the profoundly loaded eponymous Xs, 'explore, expand, exploit, and exterminate'. furthermore, as a (1) symmetrical game with a global, transhistorical (5, 6) scope, it has to necessarily create a model of what 'a civilization' looks like and apply it to every 'civilization' it wants to include, at all points in their history.

this all kind of naturally leads into civ being a game in which the colonial european imperialist powers are the default 'civilizations' and all other cultures are basically just like them -- a game where technology progresses linearly and innovations are made in the order they were in european imperial history -- a game where all cultures fundamentally work in the same way and hold similar values, a game where all religions are based on christianity (i mean, just look at civ vi's system, where every religion has a 'prophet', 'apostles', 'missionaries' and 'inquisitors'), a game where not only do cultures have teleological overarching 'goals' but where these goals are shared and these goals are fundamentally based on imperialist visions of 'victory'.

to drill into some specific examples: you can't play a game of civilization without founding cities. you will constantly be founding cities. when you're playing as 'the mongols' or 'the cree' or 'scythia', this makes no sense! these were peoples who historically had rich culture, science, arts, and certainly a notable military history, but were (to varying degrees, at varying times in their history, i don't mean to create a new and similarly heterogenous absolutist category here) nomadic!

similarly, to advance in civilization you must invent 'the wheel'. 'the wheel' is necessary to many later innovations, while of course the andean peoples represented by the playable 'inca' never made significant use of the wheel because the lack of suitable pack animals and environmental factors meant that it did not, in fact, prove a suitable tool for transporting large quantities of heavy goods. for an even more glaring example, a lot of early military technology is locked behind 'horses', which is pretty absurd considering that several of the game's playable civilizations, in the real world, developed plenty of military technology despite living on a continent without any horses!

so having established what i mean by 'the issue', which is that the game's core assumptions lock it into imposing a eurocentric, imperialist vision of 'civilization' onto cultures where it doesn't make sense, here's a few different jenga blocks you could pull out to resolve it:

SID MEIER'S EUROPE

the pillar you knock out here is #5. keep the game engine and core assumptions just as founded on eurocentric imperialist societies as they are now, and just make it about european empires doing imperialism. now, i think we can immediately spot some problems in there -- how are we going to represent the rest of the world? after all, this kind of just creates a situation where, either as NPC factions or as outright exclusions, all other cultures in the world are deprived of any meaningful agency in "history". this one just kind of gives you a new problem and also from a gameplay standpoint results in a game that just Has Less Stuff On It. i think this is a bad one

SID MEIER'S ELYSIUM

now here's one you can get if you knock out pillar #3. keep the same assumptions and gameplay and transhistorical global narrative scale, but remove the 'real-world' aspects. you can get real silly with it and add fantasy stuff to it, or you can be a relatively grounded 'our-world-but-to-the-left' situation. now to some extent this already matches a lot of the features already in civ games: after all, unless you specifically load in a 'true start location earth' map, you're usually playing on a strange parallel world with semiplausible but wholly original continents! now, you also need to get some fucking Nerds and Geeks working at your company to build out your fictional world, or you'll just end having pointlessly pallette swapped a bunch of factions that are now just Schmance, Schmina, and the Schoman Schempire, and not really have avoided the issue. but if you do that, and invent a deep and rich fictional history to riff on, then you could create something really cool and incorporate alt-tech or fantasy or retrofuturistic elements or all sorts of cool shit.

the downside of this is that it makes your game less accessible and appealing to a lot of people. a big part of (at least the initial) appeal of civilization is pointing at the screen and saying 'hey i recognize that thing!'. it is instantly more accessible to someone who isn't super invested in strategy or fantasy dork shit to say to them 'you can be BRAZIL and nuke FRANCE while at war with CHINA and allied to BABYLON'.

more importantly than that, i think some parts of the historical theming (because let's be honest, it is ultimately theming, i don't think civ is interested in 'history' in any serious way) serve a pretty load-bearing role in the game's information economy. it's a pretty tall order to ask a player to remember the unique abilities of dozens of factions and unique wonders, and the historical background makes it a lot easier. e.g., it is a lot easier for a player looking at wonders to remember 'the pyramids need to be built on desert' or 'broadway will help me make more culture' than it would be for them to remember the requirements/effects of 'under-eusapia' or the 'wompty dompty dom center'. i think this is one of the number one things that, if subtracted, would meaningfully create something that is no longer 'sid meier's civilization'.

SID MEIER'S ALPHA CENTAURI

now if you cut out #3 and #5 and #6 on the other hand... sid meier's alpha centauri is not technically an entry in the civilization franchise, but i think most people correctly consider it one. it has similar 4X gameplay to the series, and its (very bad) spiritual successor beyond earth was an official entry. instead of 'civilizations', the playable factions are splinters from a colony ship that fell into civil war as soon as it landed, each one representing a distinct ideology. now, y'know, this doesn't mean it's free from Some Problems (the portrayal of the Human Hive in particular is some of the worst apects of 90s orientalism all piled together) but i think they're problems it's not at all locked into by its design!

SID MEIER'S THERMOPILAE

by cutting out #5 and #6 -- making a civ game about a particular time and place in history you could achieve something much more richly detailed in mecahnics while also being able to handwave a lot more homogeny into it. giving the same basic mechanics to, say, every greek city-state in the peloponnesian war is far less ideologically loaded than giving them to every 'historical civilization' someone who watched a few history channel documentaries once can think of. it also lets you get really into the weeds and introduce era-and-place-specific mechanics.

the scale needs to be smaller conceptually but it doesn't really have to be smaller in terms of gameplay -- just make maps and tech trees and building more granular, less large-scale and more local and parochial and specific. this also gives you the advantage of being able to do the opposite of the last two options and really lean hard into the historical theming.

if this sounds like a good idea to you, then good news -- old world does something pretty similar, and it's pretty good! worth checking out.

SID MEIER'S LOVE AND PEACE ON PLANET EARTH

what if we take an axe to #2 and #4? instead of putting all these civilizations into a zero-sum game of violent expansion, make it possible for several civilization to win, for victory goals to not inherently involve 'defeating' or 'beating' other factions. now, that doesn't mean that the game should be a confictless city-builder -- after all, if you've decided to be super niceys and just try and make your society a pleasant place to live, that doesn't mean that the guy next to you isn't going to be going down the militarist-expansionist path. hell, even if all you want to do is provide for your citizens, a finite map with finite resources is going to drive you into conflict of some kind with your neighbours in the long run.

to make this work you'd have to add a bunch of new metrics -- 'quality of life', for example, as a more granular and contextual version of the 'happiness' mechanics a few games have had, or 'equality', game metrics that you could pursue to try to build an egalitarian, economically and socially just society where everyone is provided for. after all, why shouldn't that be a goal to strive for just as much as going to mars or being elected super world president or whatever?

SID MEIER'S DIVERSE HISTORICAL CONTEXTS

ultimately, all cards on the table, if i was made god-empress of The Next Civ Game, this is the option i'd go for: jettison #1 as much as practically possible, introduce as much asymmetry into the game as you can. some civilizations keep the established settler-city model -- others are nomadic, building their units in movable 'camps' -- maybe the 'colonial' civilizations, your USA and Brazil and so on, can be like the alien factions from the alpha centauri DLC, only showing as NPCs at the appropriate point in the timeline when other civs are colonizing other continents, or putting you into an accelerated-forward version of the game if you choose to play as one.

you could combine this with a more interesting version of humankind's civ-choosing system, where you lock certain civilization choices behind specific gameplay events. this would let you do crazy shit with the balancing -- imagine an ostrogothic kindgom civ with crazy strong abilities and units that you could only choose to play as if your capital is overrun by barbarians, or a hungarian civ that requires you to have started as a nomadic civ and invaded somewhere, or a soviet union civ that requires you to lose a revolution, or a usamerican civ that requires you to split off all cities on a foreign continent from your original civ -- you could add so much variety and so many new and bizarre strategies into the game with this!

as for the universal aspects of tech and the narratives of linear progression contained within, there are lots of approaches that already solve this! stuff like stellaris' semi-random branching tech paths, or endless space 2's circular tech web, could allow civilizations to take tech paths that make sense for them, rather than imposing one single model of 'technological progress' on the wole world.

obviously there's limits to this, right -- civilization isn't going to be a detailed historical materialism simulator any time soon. but i think abandoning the idea that every faction has to play fundamentally the same and introducing some severe asymmetry as well as choices that you can make after starting the game would work wonders to wash out some of the racist and colonialist assumptions built into the game's foundation, while also (imo) creating a more fun and interesting game.

[a-driftamongopenstars]

alright, i finally finished Dragon Age the Veilguard.

tldr; 3/10. I didn't like it.

If you enjoyed the game and would rather keep enjoying it, please don't click the read more section as what follows is rather critical.

I can finally sit down with my thoughts and put them together in a more cohesive structured review, touching on most things that I wanted to address. I'll start with positives and then focus on the negatives.

Warning, this is VERY long.

Overall, I had a neutral to negative impression of DatV, which got worse by the end of the game. It had some good moments, but they were entirely unexplored and underutilized, suffering from bad writing. While the game itself is rather pretty, it didn't outweigh the dialogues, the stories and the lore butchering that took place.

1. Environment and visuals. 8/10.

I think Veilguard is a very beautiful game. I enjoyed exploring the corners of this new world, the little bits of environment design and storytelling that it had. It felt magical, certain locations were mesmerizing! I couldn't stop staring at the valley where you go to with Harding, the carcass of a titan.

2. Combat. 9/10.

I love flashy combat, I enjoy hack and slash, so until the very end of the game I was having most fun in combat. Yes there was repetitiveness but I tried to combat (hehe) it with changing my abilities and weapons every now and then. I liked combos and I liked timed parries. Enemy tactics got a bit boring by the end, but a few enemies still surprised me and challenged me.

.... That's where positives end. Now on to the negatives.

1. Characters. 2/10.

I don't understand what happened. Almost all the characters in this game were tuned down to a two-dimensional personality, "good" and "bad" - and absolutely no nuance. This happened not only to the villains, but to the different NPCs and even our companions. Their interests got narrowed down to single points of interest (Lucanis and coffee being a prime example to me), their motivations got watered down.

This is not what I expect from a Bioware game. I want to be challenged, I want to dislike characters or approve of their choices. I like characters who are messy and complex and don't always have their shit together.

I like villains who may have other reasons for their choices, other than "ba ha ha, I am so evil and I will do evil things". Where is Alexius who sold himself to the Elder one, just so he could save his beloved son? Where is Samson, forsaken by the Chantry and turned to red lyrium with his addiction? Where is Calpernia, misguided in her choices, just to free the slaves of Tevinter?

Where are the slaves of Tevinter anyway?? That's another topic.

2. Rook. 4/10.

On one hand, I liked playing Rook. They were stoic but with a humorous side, ready to get the job done, compassionate to other people.

The problem is that it's the only Rook you can really play. The protagonist is set in their ways and their dialogues and there is very little to roleplay. Rook really does feel like a gentle manager, trying to get everyone to play along nicely, while providing therapy every now and then, and is excluded from the majority of friendly interactions with other people. That awkward glance everyone gives you after their banter is embarrassing. The way you can third wheel people, the way the game actively offers you to leave a couple of animated conversations between other people - why even include those? Why not make Rook a part of the 'team'?

I did like Rook's dynamic with Solas. They got to see a different side of him, one that's not presented heavily in Inquisition. But like everything else, it felt surface level and underexplored.

3. Story arc. 2/10.

I am left unsatisfied with the story. The pacing threw me off so much nearly every quest, it was hard to stay on track. From "we need to solve this NOW" to "actually, let's all slow down and deal with our problems", the plot's priorities were all over the place. We kept hearing about the gods and their destructive oppression, but we saw surprisingly little of it. Yes, there was the Blight, yes there were Venatori and the Antaam, but they felt more like a video game fodder and dressing rather than a part of the story.

Not to mention that all of those things made little sense to me. Why would the gods align with aforementioned factions? Why would the aforementioned factions align with the elven gods? In-game explanation was not enough for me, it did not make sense. Not with the established lore in the previous games.

I also did not enjoy the ending. While the idea of Solas binding himself to the Veil is good and does make sense, what was suggested as the good ending (inviting Mythal to deal with Solas essentially) actually left me feeling awful. I sent a man, full of regrets and self-loathing, on a lonely journey to figure himself out. That... did not sit right with me at all. Neither did the fact that Northern Thedas, supposedly the point of the gods' attack, gets to live and flourish, while Southern Thedas is dying of starvation and blight. That is UNHINGED to me.

4. Music. 1/10.

There was no music. I remember one track. It was not memorable whatsoever and I can't believe they hired Hans Zimmer to do exactly nothing. Just wow.

5. Lore. ???/10.

And here is the worst offender. What was done with Dragon Age lore is unacceptable. I was doing a head-in-hands every five minutes. This was a slap in the face of so many fans who enjoyed the three prior games and delved into deep, interesting lore of various races, countries, cultures and religions. Veilguard showed a big middle finger to all that.

Everyone has already touched upon the sanitization of different factions. From the suddenly slaveless Tevinter to found family Antivan Crows, everything has been scrubbed clean and made sweet and palatable and "good".

The Dalish clans have been removed from existence as we know them. The Antaam left the Qun? Don't even get me started on that. The Chantry has no influence in this game? Really? The Chantry? The biggest religion in Thedas? The one that we know has heavy presence in the Anderfels, the Black Divine in Tevinter? That Chantry?

I think it really hit me how disrespectful the game is during the quest of saving the Dalish elves, where apparently Elgar'nan's Venatori, uplifted to be his servants and chosen people, were trying to sacrifice them. It's a gross and oddly telling idea that the ancient Elven god turned to a faction of racist mages to sacrifice elven people. I actually can't believe I'm writing this. Just how much are you going to shaft these people? Mindboggling.

There is a lot more I have to say on this specific topic, and I probably will later, but the idea is this.

6. Romances. 2/10.

Whoever said this is a game with romance lied so hard. So hard. The romance was atrocious. From the badly written flirting to the lack of romantic scenes (I romanced Davrin), to the poorly timed and awkward 'final' romance moment... It was atrocious. I felt no connection between Rook and Davrin beyond what game was telling me. My actual companions got more screen time with their romances than me and my LI.

Damn, even Evka and Antoine, my single most beloved NPCs in this game, had more romance going on that my Rook.

---

All in all, Veilguard was a massive let down. After having enjoyed the first 3 games many times over, with multiple playthroughs, I was so excited to see how the story of the Inquisition, of the elves, would end. When I saw the first trailer for VG, I knew I would never get to see it. When I played the game, I was left with disappointment and disdain.

I'm glad there are people who enjoyed this game, genuinely. I'm sure there's something to find for anyone, but it was not for me. Nor was it for many other people. It was a let down. I feel like I'll never get the conclusion I wanted - so I'll have to write my own I guess.

I have more thoughts on this game that I might be sharing, but for now this is the review I wanted to write. Thanks for reading!

[anneapocalypse]

On Wuk Lamat, and Female Characters in FFXIV

The Thing with Wuk Lamat is you can tell me you think she had too much screentime; you can give me numbers on how many lines she had or how many scenes she's in relative to other characters or other expacs; you can prove to me "objectively" that she gets more focus than other main NPCs; you're simply not going to convince me that this is something I should be unhappy about. And not just because it's silly to think you can use numbers to prove a story is good or bad and make someone else go, "Wow, you're right, let me just throw away all the joy I experienced with this story and revise my opinion because you've scientifically proven to me that I'm wrong."

Because while I love Final Fantasy XIV and I have greatly enjoyed its story in so many ways, fundamentally one of my biggest beefs with this game has been how much female characters have been denied complex character arcs and growth and agency and interiority.

Minfilia gets treated as a sacrificial vessel who lives for everyone but herself and doesn't even get to have feelings about her own death because that entire arc is focused on a male character's angst about it instead. The game tells us in the Heavensward patches that Krile sees Minfilia as her best friend and then just forgets about that later and never follows up on what that loss must have meant to her. Ysayle is basically right about most of what she's fighting for but harboring a bit of self-delusion is apparently such a terrible sin that she has to pay for it with her life, while her male foil is deemed so worthy of salvation that there's a whole plot point about how important it is that we risk our lives and others' lives to save him. Y'shtola is a major character who's been around since the beginning, and the game keeps dropping maddeningly interesting things about her (apprenticed to a cranky old witch in a cave! saved her own life and the lives of her friends with an illegal and dangerous spell and it worked! reserved and undemonstrative yet regularly through her actions reveals herself to be deeply caring! disabled!) and then shows complete disinterest in following up on any of those things with the kind of depth and care shown to male characters with complex arcs like Urianger.

In general there is also a repeated thread of female characters being portrayed as weak or overly emotional: Minfilia is weak because she doesn't fight and needs to be eaten by a god in order to gain "a strength long sought." Krile is portrayed as not being able to pull her weight with the Scions (despite the fact that she actively keeps five of them from dying in Shadowbringers) and the only thing they could think of for her to do in Endwalker was be yet another vessel for Hydaelyn (hmm, that sounds familiar) and it's not until Dawntrail that she gets much actual character development in the main story and even that has to come alongside "Look, she can fight now so that means she's useful." (And I love Picto!Krile, I'm just saying, there's a pattern.) Alisaie, despite having very good reasons for needing to find her own path apart from her brother, is portrayed as having to prove herself when she returns, that she's "not the girl she once was," and "will not be a burden" (while Alphinaud is repeatedly given the benefit of the doubt and reassurance and affirmation from other characters even after he takes on responsibilities he isn't ready for and fucks up big time).

And if you follow me you know I adore Urianger, and I love Alphinaud and Thancred and Estinien too, so please don't misunderstand what I'm saying here! I'm not knocking those characters, or saying we shouldn't also love them. I just use them as a comparison to demonstrate how the female characters have been neglected.

Lyse has some of the stronger character development among the female Scions, and while she's still kind of portrayed as being too emotional and hotheaded in early Stormblood, I think it's actually explored in more depth in a way that I like; Lyse has good reasons for wanting to fight for her nation's freedom, but having been away from Ala Mhigo for several years now, she needs to understand the stakes for the people who've been there fighting for years, what they've lost and still have to lose. She grows as a person and rises to the challenge of leadership, and I'm even okay with the fact that she leaves the Scions afterward because it feels right for her to stay in Ala Mhigo, and at least she doesn't die.

And by all accounts she was, like Wuk Lamat, widely hated when her expansion came out.

Unironically I think the other female Scion with the strongest character arc is Tataru. She tries to take up a combat job, finds that it's not for her, and decides to focus on where her strengths are instead. In doing so, she both holds the Scions together as an organization in the absence of a leader by capably managing their finances, and also comes into her own as a businesswoman and makes international connections that benefit both the Scions and her personally. In contrast to Minfilia, she's not portrayed as weak because she doesn't fight, and is actually allowed to be an important character who's good for more than being sacrificed. Tataru is still distinctly in a supporting role for the player character, however, and her character arc happens as a side story that takes up a relatively small amount of screentime over several expansions, which I think is probably why she doesn't evoke such a negative reaction.

But there is a pattern of the game's writing showing disinterest in the interior lives of female characters generally, and in making their growth the focus of a story.

So yeah, I'm going to be happy about Wuk Lamat! I'm going to enjoy and celebrate every moment of her character arc, of her personal growth, of watching her put the lessons she's learned into action. I'm going to love and treasure every moment when she gets to be silly, embarrassing, emotional, scared, grieving, confused, upset, seasick, impulsive, and still deemed worthy of growing into a hero and a leader. I will love her with all of my soul and you simply will not convince me that it wasn't worth the screentime after such a profound imbalance for basically the entirety of the game. We've never had a major female character get such a strong arc with this much love and attention put into it and that means more to me than I can truly say. The backlash to it is disheartening, as this kind of thing always is, but I'm not going to let it ruin the wonderful experience I had playing it and how much joy it continues to bring me.

And for those of you who don't want any of that for a female character, thank goodness you have Heavensward and Shadowbringers and Endwalker and no one can take those away from you.

(And if you follow me you know that I love Shadowbringers and Endwalker and have very fond memories of Heavensward despite some issues with it, so not only can I not take that from you, I am not trying to!)

Some of us have been real hungry for a character like this with an arc like this, so, I think, y'know, maybe we can have that. As a treat.