#and I want to learn more about the characters

[prokopetz]

Doesn't Hasbro have a strong incentive to make a "lite" version of D&D with a pared-down paperback rulebook and sell it as a casual-friendly overpriced starter kit with a bunch of dice, figures, treasure cards, etc.? It could be a strict subset of the normal 5E rules (I guess - not that knowledgeable about TTRPG design). That way they could sell you all the same books. Seems like a slam dunk

Hasbro's present marketing strategy for Dungeons & Dragons is to try to position every D&D group as potential purchasers of every D&D product. Among other things, this is one of the main reasons that every campaign setting other than the Forgotten Realms is being repackaged as a series of tourist destinations for Forgotten Realms based campaigns to visit, and why there's been a strong move away from focused, topical sourcebooks and toward big, messy "book of everything"-style anthologies that consciously avoid focusing too much on any one type of character or campaign. It's also why the core books make a lot of noise about how wonderfully modular the rules are without actually providing any meaningful modularity in practice – if the game was designed to make it easy to pick and choose modular components, they'd risk fracturing the player base into distinct subsets with different preferred sets of modules.

All this in mind, it's fairly easy to see why there's currently no official "light" version of D&D. Under the paradigm of every single D&D group as a potential purchaser of every single D&D product, a version of Dungeons & Dragons 5th Edition that was actually, meaningfully simpler than the core product would function in practice as a competing game (what if people decide they like the simpler version better and just play that instead?), and the last thing you want is to compete with yourself. TSR learned that the hard way! With substantive simplification off the table, the only introductory version of Dungeons & Dragons Hasbro can offer is one with exactly the same rules which simply has less content, and tells people to buy the full version if they want more – which is exactly what they're selling in the various starter sets that are presently available.

[hyunsuloves]

omg girl I'd just seen your "squid game women with a timid s/o" , could you do the same but for men? thanksss 💖

super shy.

synopsis … squid game men with a timid s/o ꨄ︎. (or a part two to this.)

pairings … myung-gi, dae-ho, jun-ho, thanos, nam-gyu, min-su x fem!reader (separately)

warnings … fem reader, non game au, some may be ooc but what else is new, i apologize for any typos !!

lovely notes … the post i did with the female characters did surprisingly well omg..

꩜ [ 857 words ]

myung-gi / player 333 is so similar yet so different from you. he’s not a candid person, but he doesn’t always keep to himself.

he tends to keep under wraps but isn’t opposed to speaking out around others.

he encourages you to speak up for yourself, though he’s joking the majority of the time. he likes to tease you way too often for comfort.

“you know you can speak up for yourself, right?” “myung-gi, leave me the hell alone.” “this is what happens when i try to help you. so ungrateful.”

he orders for the both of you, so even if you weren’t so shy, he’d take upon the task himself either way.

he makes fun of people in awkward social settings to ease your worries. he’ll whisper the dumbest jokes ever to make you feel less awkward around the large crowd of bodies.

the both of you just stay near one another while in public. there’s nothing better than the proximity of a loved one when in the worst possible social setting.

dae-ho / player 388 is your polar opposite. he’s very social, energetic, and forthright.

he’s a social butterfly wherever he goes, and you have the misfortune of constantly being dragged along.

he’s always ready to go when you are. even if he isn’t finished socializing, he’s saying his farewells as soon as you tell him that you’re ready to leave.

“hey, you ready to go?” “we’ve only been here a few hours. go have fun, baby.” “no, let’s go. i wanna go home with you.”

despite dragging you to every social event ever, he’ll speak for you without even thinking about it. even if you can speak for yourself, he talks for you. he always feels slightly guilty for dragging you out of your humble abode to accompany him to his affairs.

he speaks up for you every time, without fail. he defends you, orders your food for you, the whole deal.

jun-ho is your contrast, as he’s far from shy. he isn’t always outspoken.

while he has a more free-spoken personality than yours, he has moments when he’s just as reserved as you are.

he’s the first to your defense when he sees someone troubling you. even if you weren’t his partner, he’d rush to your defense nonetheless.

“hey, tell me if they say anything else to you.” “of course. thank you, jun-ho.”

the way this man is so protective over you is so nonsensical. he’d be defensive nonetheless, but especially with your timid nature.

thanos / player 230 couldn’t be more different from you. he’s the most eccentric and outgoing person you have ever met.

from social gatherings to parties, to any get-together he can find, you’ll find him there. of course, he drags you along to wherever he’s going.

he urges you to speak for yourself more often than not. although he doesn’t mind speaking for you, a lot of the time he’ll put you in situations in which you have no choice but to verbalize.

“señorita, learn how to speak for yourself.” “stop talking to me, su-bong.”

to no one’s surprise, he’d fight over you if needed. if you’re being targeted, he’d attack the individual without a second thought.

his favorite thing to do is fluster you. compliments upon compliments is all you hear from this man, and it’s all to see you act all diffident.

nam-gyu / player 124 is, like thanos, your polar. he’s a very extroverted person, opposite your timid demeanor.

he’s a very lax, social type of person. he likes to relax when he’s at get-togethers, similar to you.

he loves to flatter you. it’s not even to fluster you, he just wants you to be so conscious of how much he loves you all the time.

“you look so pretty, baby.” “leave me alone, nam-gyu.” “what? i mean it.”

he’s the first person to come to your defense, as expected. even though he’s the type to let himself be belittled, he’d never let it happen to you.

he’s the kind of person you can sit in silence with and not have it be awkward. silence with him is quite comforting.

min-su / player 126 is literally your twin. the both of you are the most reserved people known to man.

the amount of times you’ve just sat in silence, enjoying the other's presences is too much to count. the two of you simply sit in quietness.

if it comes to something like ordering food, you often take the initiative because min-su is way too shy for his own good.

“can you order for me?” “of course, love. i got it.” “thank you so much. where would i be without you?”

the only person either of you is comfortable around is the other. you’re a wreck around others, but it’s absolute tranquility when you’re with one another.

if it came to defending one another, you’d come to his defense without hesitance. he’s more tentative to defend either one of you, so it usually comes down to you doing it.

the both of you are a shy pairing and a very likely couple that surprised no one.

[burningembers91]

Not Who I Want to Be - Choi Su Bong (Thanos) x Fem!Reader

Synopsis: Thanos is tired of life, until he meets you.

A/N: I am determined to make this man likeable. Redemption story arc incoming!

Warnings: Mentions of abusive father, mentions of drug and alcohol dependency. 18+ only!

Thanos couldn’t remember the last time he’d spent 24 hours sober. He’d either been drunk, high, or both for as long as he could remember. When he was a teenager, it was a way to escape his abusive father, but the pills and drinks eventually became a crutch, one he couldn’t function without.

He still had no idea how he’d become so famous, how his music had managed to become such a hit with so many people. There were songs he didn’t even remember writing, days that were completely lost in a haze of booze and drugs. But somehow, people loved him. He was under no illusion that people loved him for who he was – he knew he was a prick. No, people loved him for his fame, his money, and his seemingly unlimited supply of narcotics.

It didn’t matter to Thanos though; he relished the attention, basked in the flirtatious attention he received from women whose names he never bothered to learn. His friends were nothing more than people desperate for fame, clinging to him in the hope he’d make them as big a name as he was.

People seemed to love his outlandish character. Every time he did something insane, his fans would go crazy for him. So, Thanos slowly became more unhinged, forgetting the little boy he’d once been, the one who’d had big dreams. He spent each night with a different woman, attending every party in Seoul. His penthouse apartment was a constant hive of activity, the people he’d picked up along the way using it as a base to get high.

He didn’t even enjoy music anymore, the words he wrote meant nothing to him. His fans constantly demanded more of him, so he worked like a dog to give them exactly what they wanted. Nothing he wrote made sense; it had no meaning, no context behind the raps. His songs were as empty as his soul; but people were eating up his words like they were gospel.

It was a usual Saturday night ritual for him to attend a club in Seoul. To make an appearance to the crowd, before getting blackout drunk. Tonight, he found himself in the throng of a sweaty crowd, so high off the pills he’d taken before coming out that he was barely clinging to existence. The usual scroungers were there, taking as many free drinks from him as they could get, posing for photos that would instantly be uploaded to Instagram for a few minutes of fame. Girls were clinging to his shirt, their slurred words ricocheting off his ears, melting into the thump thump thump of the base from the speakers to his right. He was dizzy, dehydrated and so, so fucking done with this crowd. He needed to get away, needed to breathe some fresh, sweat-free air.

Pushing himself away from his followers, he stumbled up the steps to the rooftop. It was raining, the wind pushing the droplets sideways into his face. If it was cold, his body didn’t feel the chill. It had been a long time since Thanos had felt anything. The roof was empty, expect for a figure to his left. You were stood huddled under a thin canopy, your arms crossed over your chest. You sipped periodically from a glass, shivering every now and again against the stormy night.

You were the most beautiful thing Thanos had ever seen. You seemed to light up the entire space, despite the wind and rain. Your outfit clung to your figure, accentuating your curves and leaving him breathless. You spotted him staring and offered a small smile. Half walking, half stumbling, Thanos made his way over to you. One good thing about the booze and the drugs, it gave him confidence; and he’d need a bucketful to speak to you.

“Hey girl,” he said, instantly transforming into his overly-macho, too confident persona. “You know who I am?” “No,” you simply said, taking in his tall, lean figure and bright purple hair. “Should I?” “I’m fucking Thanos, baby!” He cried, the wind drowning out his voice, making him seem as small as he felt. “Right… Sorry, doesn’t ring any bells,” you shrugged, downing the last of your drink. “Where would I recognise you from?” “My music,” he told you proudly, spreading arms so you could take him all in. This wasn’t the usual reaction he got. People usually knew he was before he’d even introduced himself, but you, you were just looking blankly back at him. “I’m award winning, senorita!” “Sure,” you smiled, “I’ll uh… I’ll take your word for it.” A clap of thunder stopped your next words, the two of you looking towards to the storm-laden skies. “We should get inside,” you said, “wouldn’t want the famous Thanos to be struck by lightning.”

Following you inside, he couldn’t help but eye your figure as you walked down the stairs. You were nothing like anyone he’d ever seen. Your indifference and unfamiliarity with him were refreshing. You weren’t scrambling to get an autograph or clinging to him in the hopes he’d buy you a drink or take you home for the night. “You here with friends?” He didn’t want the conversation to end, he didn’t want you to leave. He’d probably never see you again if you left now. “Yeah,” you nodded, “it’s my colleagues’ birthday. She really loves this place. You?” Thanos looked around, his eyes scanning the crowd for the people he knew were anything but his friends. “Yeah, baby! It’s Saturday night! It’s party night!” If he wasn’t so off his face, he’d be cringing at the way he was speaking. This wasn’t him; he knew it wasn’t. But he didn’t know how to be any other way. “Well, don’t let me interrupt your evening,” you smiled. He could tell you thought he was a joke; he knew you saw straight through his bullshit. “Wait!” He called after you. “Can I get your number”? You turned and shook your head. “Sorry, Thanos,” you smiled, “I don’t give my number to Marvel villains.” He laughed; not only were you beautiful, you were funny too. “What about your Instagram then?” You thought for a few moments, and finally agreed. Typing your account name into the search bar, you pressed the follow button. “Hey, your accounts private!” Thanos remarked, seeing the request pending written across the screen. “Yeah, it’s to stop all the weirdos from following me. You never know, I might accept. Have a goodnight, Thanos!” And with that, you disappeared into the crowd.

He awoke the next morning, his head pounding and his mouth dry. Some random girl lay next to him in bed, a bottle of vodka tipped on his side and dripping the last of its contents all over his custom-made tile floor. His memory of last night was hazy; he didn’t remember leaving the club or getting home. He didn’t remember going to bed with a stranger, but he remembered you. He remembered the way the strobe lights reflected in your eyes, the way you refused to put up with his shit. He grabbed his phone, scrolling through his apps until he found Instagram. Clicking on your profile, he couldn’t help but smile when he saw you’d accept his follow request.

A message popped up on his notification banner from you. His hands shaking from nerves and withdrawal, he clicked on it. Hey Thanos, it read, I hope you didn’t get blown away in the storm last night. He laughed, harder than he had done in months. Finally, he was excited about his day. He couldn’t wait to reply, couldn’t wait to see where this new conversation could lead him. He jumped out of bed, heading for the shower with his phone clutched in his hand. For the first time in a long time, Thanos was looking forward to the day ahead.

[flowersforthemachines]

Some facts about Lucanis (and also Spite and the Crows) gathered from the banters

I went through all companion banters on DanaDuchy's channel after playing the game to write down all facts about companions/the world that I haven't seen brought up anywhere in the game as a writing reference (and for funsies).

Note: This list may not be exhaustive. I might have missed some something or didn't write it down because I considered it common knowledge. If you have anything to add, please DM me or send an ask! (do specify what banter the information is coming from, though)

Note 2: Posts from this series (mostly) don't include information from banters specific to quests or between companions and faction members. I plan to do another playthrough to capture more of those and will add any relevant info to the character posts.

Other characters' posts: Bellara, Davrin, Harding, Emmrich, Neve, Taash to be added tomorrow (or on Monday Jan 5th)

About Lucanis: 

Family and the past:

Lucanis learnt to cook while helping the kitchen staff at the villa when he was a little boy. One of his motivations was learning how to make churros

Side note: Lucanis mentions that cioccolata calda was his favourite drink when he was a baby, and he serves churros to a romanced Rook who picks cioccolata calda as their favourite drink. It’s all coming together! 

Lucanis wanted to be a Crow when he was a child (at least most of the time)  

All of Lucanis's relatives were Crows as well, and all of them were killed by a rival Crow house

Lucanis says Caterina would be proud of Illario hiding his plans well, as well as killing her 

Lucanis says that the hard part about setting Illario free would be convincing Caterina 

Lucanis says that nightlife was more of Illario's thing, and he never got out as much

On Crows and Antiva:

Viago still stares daggers at Lucanis for throwing his (Viago's) pet snake out of the window in a dream

Lucanis doesn't like it when people confuse murder and assassination ("Murderers are hobbyists, we are professionals")

Lucanis has taken contracts in Orlais

Lucanis doesn’t know Treviso as well as he once used to 

Heir didn’t train Lucanis

Lucanis says he has never killed an innocent “by his count” (other people may disagree) 

Lucanis doesn’t think of the Crows as a “big organisation” (unlike the Inquisition) because they stab each other too much

Lucanis became a mage-killer at Caterina’s behest (she wanted to tap into new markets)

The nickname “The Demon of Vyrantium” came from Tevinter news-sheets, though Lucanis thinks Viago started it

Lucanis says that there aren't any special tricks to killing mages. Though, if nothing else works, you can try pissing them off, as that could attract a demon that would eat the mage

Lucanis once killed half a dozen venatori while stuck inside an elevator 

Lucanis doesn’t consider himself a gentleman assassin, manners are less important than getting the job done

Lucanis sometimes spares his targets. He mentioned letting go of a servant who killed her master, as well as a 14-year-old boy. He thinks it’s wrong to kill people so young because they still have time to change

Lucanis doesn’t accept contracts without merit, and the merit is decided by the talon of the house

General:

Lucanis can make bread

Lucanis has never been to Ferelden

Lucanis isn’t interested in killing wyverns, just looking at them :)  

Lucanis has a pet snake 

Lucanis stays awake at night by cleaning his gear, exercising, studying Orlesian and knitting ("it’s just another kind of blade work") 

Lucanis doesn’t understand a lot of things people find attractive

(In a conversation with Harding) Thinking about cooking was one of the things that helped Lucanis stay sane in the Ossuary (the other was thinking about killing his enemies) 

(In a conversation with Davrin) Lucanis survived the Ossuary by shutting down and not thinking about anything except escaping

These two points sort of contradict each other. Either an inconsistency or Lucanis describing his experience differently to different people. 

The Wetlands ruined at least one pair of Lucanis’s boots

(If Rook chooses to save Treviso) Lucanis offers to pay for any supplies the Shadow Dragons may need 

Lucanis doesn't get a better bed because he's afraid of accidentally falling asleep 

Lucanis can identify the killer’s weapon and the height difference between them and the target just through the blood splatter left at the scene

Lucanis considers Grey Wardens dangerous 

Lucanis doesn’t like necromancy, because bringing people back to life is a waste of hard work

Lucanis finds the ice coffee from Minrathous offensive (Harding describes it as “snow, but made of coffee, sweet, and with cream and toffee sauce on top”)

Lucanis had never been in a romantic relationship before Rook/Neve

Relationships with other companions: 

Lucanis gets into reading Bellara’s serials (very passionately - they chat about it a bunch)

Lucanis is outraged that the Veil Jumpers don’t get paid for their work and offers Bellara his contract negotiator

Lucanis made biscuits for Assan

Lucanis is sceptical that the griffons will be safe with the Wardens

Lucanis think that Assan shouldn’t go soft (referring to the time he took care of a halla) because he is a predator at heart

(If Emmrich becomes a lich) Lucanis offers to hold a funeral for Manfred

Lucanis and Harding talk a lot about dreams (mostly silly things like showing up naked for the job, getting chased by someone/something etc.)

Lucanis thinks Harding is deadly with her bow

Lucanis offers to pay Harding for being his lookout/aide at the rate of 6000 gold per contract

Lucanis offers the help of his contract negotiator to Neve after he finds out she doesn't have one

Lucanis made deep-fried peppers for Taash

About Spite: 

Emmrich can hear Spite even when he doesn’t take over Lucanis’s body (at least from a close distance)

Spite is impartial to Emmrich, believing him more than Lucanis

Emmrich says it’s impossible to separate Spite and Lucanis without killing them

Emmrich encourages Lucanis to read to Spite to bring them closer. Lucanis agrees to let Spite pick a book

(If Emmrich becomes a lich) Spite asks if he and Lucanis can get rid of their skin too 

(If Manfred is revived at the Necropolis) Spite asks Emmrich to teach him how to use fire magic. Lucanis isn’t thrilled by the idea

Emmrich sets up wards to prevent Spite from leaving the room when Lucanis is asleep

Spite no longer sleepwalks after “Inner Demons” because he apparently understood the concept of space

By the end of the game, Spite has agreed to stop sleepwalking completely

Spite controls the wings (confirmed in banter with Harding) 

Spite wants to try swinging off the astrolabe at the Lighthouse

Spite is very excited about Manfred having hands and feet (Curiosity. Has. Feet!)

Spite finds the wisps in Neve’s room unnerving (as do Lucanis and Neve)

Spite likes to play with whetstones Bellara got for Lucanis (Bellara got them from the Irelin who supposedly got them from somewhere in Arlathan) 

Spite wants to try eating self-lightning candles at Blackthorne Manor

About the Crows: 

Crows frequently visit Nevarra and have received 20 contacts to assassinate the king. The King has been poisoned 7 times

Crows get a lot of contracts for Divine Victoria

Some seers in Rivain are powerful enough that there are contracts on them as well

Caterina once killed a man with a thimble

When Crows kill someone, most of the time they want others to know it was them (rather than presenting the death as an accident) 

The crows buried six different Eight Talons and rarely take contracts in Ferelden after the Zevran fiasco

[queerpyracy]

i've been reading a lot of het romance in the past year (here distinguished from m/f as a whole because i want to speak specifically to how straight people write*) and i really, really need straight romance authors to read how gay people talk about the people they're attracted to and learn from it.

(*which doesn't mean i think 'they're both bisexual' inherently makes an m/f couple more interesting but that's another post)

there's this way of writing that like, is very clearly making sure the characters actually Like each other and Enjoy Being In Each Other's Company which is fantastic i do love that. But, there's a real training wheels set of tropes to writing attraction between these leads that always highlights the same features (i don't have to enumerate the fixation on men having broad shoulders we're all familiar) without any sense of specificity. i do not care about this man being generic brand hot, i wanna know what insanely granular detail only our heroine has noticed that shuts off her higher brain functions.

now i appreciate that i, as a lesbian, am not the target demographic of het romance--but i also know that my mom (a certified 100% heterosexual) has been complaining about the protagonists of romance novels being generic brand hot for years. even As A Dyke, if you write with enough particularities about what your heroine is into about this man i should be able to see what she sees

specificity is the key to eroticism!!! straight authors need to be writing their characters like horny posts about alfred molina and i'm NOT kidding

[merlucide]

BLLK BOYS X CURLY HAIR S/O! hcs

notes: written with the limited knowledge I have on curly hair 🙏 so hope it’s alright !! [Requested!]

characters: Chigiri, Sae, Bachira, Ness

warnings: cursing probs, ain’t proofread

CHIGIRI HYOMA

adding him for the sole purpose of HAIR DAY DATES 🗣️

You and him, the small counter, and bottles and bottles of hair product and styling tools 😍

Bae you don’t ever have to worry about the back of your hair bc hyo-baby GOTS YOU !!!

No knots allowed!! Not on his watch!!

-

I can also imagine you, hyo, and his sister just chilling around one day watching a movie and like sitting in one infront of another doing hair LMAO

The Chigiri siblings GOTCHU YOU

You looked so cutsey it’s insane

-

Also he’s like, always adjusting your hair

He doesn’t even say anything, just like fixes it lmao

Def is down for matching hairstyles (maybe not around his friends tho hehe)

Expects princess treatment for helping you lmao

ITOSHI SAE

(trying to learn how to write 4 him😭🙏)

Very quiet about his thoughts (that are positive anyway)

Thinks your hair is absolutely stunning, especially since it’s on you

will say “you look nice” but that’s about it

lowkey hates HOW LONG your routine takes

he just asked if you wanted to go to the beach to walk around

And he asked that like, 45 minutes ago

‘IM ALMOST DONE!!!’

He does like watching you do your hair routine— or more like being there in the same room

He understands the importance of self care, just not to this extent LMAO

like he combs his hair and has a simple face routine, but anything that extends 10 minutes seems over the top to him lol

Will def help you with anything tho, fast learner hehe

ALSOOO!-

when it rains he always gives you his jacket to put over your head to protect them curls 🗣️🙏 very gentlemanly I’ll say

BACHIRA MEGURU

he loves help you form curls!!

Like spinning his finger around and making them ya’know? :o

desperately wants to touch your curls but if you don’t want him to he will try (TRY) not to

Cue aggressive self-restraint stimming from Bachira

-

Wants to have you do the same routine on him lol

whiiich you do :3

Hes so excited to be involved and like, touched LMAOO

If you wear bonnets to sleep he wants to wear one too

it totally slides off while he sleeps and never tries to wear it again but still!!!!!!

ALEXIS NESS

absolutely entranced with your beauty

Nonono like, for real

Is in love with your curls 😍 he could watch em’ bounce for hours man

Like okay— in Ness’s mind there’s like a ‘filter’ if you would

And when he looks at you you’re like glowing and smiling n show motion with sparkles in your eyes

And you could just be like, chilling in your pjs LMAO

-

Will watch you do your hair routine with stars in his eyes

His hairs kinda curly too— well wavys a better word, but he doesn’t style it like you do

If you ever wanted to style his HED BE MORE THAN HAPPY!

jus happily sitting there criss-cross while you work your magic

help sorry if anything ain’t right— my hair is as straight as a pin soo 😭🙏

Made January 3rd 2025

[metanarrates]

Hello. Sorry if this a stupid question u can ignore if u want.

How can someone get better at media analysis? Besides obviously reading a lot.

Im asking this bc im in a point where im aware of my own lack of tools to analyze stories, but i don't know where to get them or how to get better in general. How did you learn to analyze media? There's any specific book, essay, author, etc that you recommend? Somewhere to start?

I'm asking you because you are genuinely the person who has the best takes on this site. Thank you for you work!

it sounds like a cop-out answer but it's always felt like a skill I acquired mostly thru reading a ton, and by paying a lot of attention in high school literature classes. because of that I can't promise that I'm necessarily equipped to be a good teacher or that i know good resources. HOWEVER! let me run some potential advice to you based on the shit i get a lot of mileage out of

first off, a lot of literary analysis is about pattern recognition! not just pattern recognition in-text, but out-of-text as well. how does this work relate to its genre? real-world history? does it have parallels between real-life situations? that kind of thing.

which is a big concept to just describe off the bat, so let me break it down further!

in literature, there is the concept of something called literary devices - they are some of the basic building blocks in how a story is delivered mechanically and via subtext. have you ever heard of a motif? that is a literary device. it's a pattern established in the text in order to further the storytelling! and here is a list of a ton of common literary devices - I'd recommend reading the article. it breaks down a lot of commonly used ones in prose and poetry and explains their usage.

personally, I don't find all the literary devices I've learned about in school to be the most useful to my analytical hobbies online. motifs, themes, and metaphors are useful and dissecting them can bring a lot to the table, but a lot of other devices are mostly like fun bonus trivia for me to notice when reading. however, memorizing those terms and trying to notice them in the things you read does have a distinct benefit - it encourages you to start noticing patterns, and to start thinking of the mechanical way a story is built. sure, thinking about how the prose is constructed might not help you understand the story much more, but it does make you start thinking about how things like prose contribute to the greater feeling of a piece, or how the formatting of a piece contributes to its overall narrative. you'll start developing this habit of picking out little things about a text, which is useful.

other forms of in-text pattern recognition can be about things like characterization! how does a character react to a certain situation? is it consistent with how they usually behave? what might that tell you about how they think? do they have tells that show when they're not being trustworthy? does their viewpoint always match what is happening on screen? what ideas do they have about how the world works? how are they influenced by other people in their lives? by social contexts that might exist? by situations that have affected them? (on that note, how do situations affect other situations?)

another one is just straight-up noticing themes in a work. is there a certain idea that keeps getting brought up? what is the work trying to say about that idea? if it's being brought up often, it's probably worth paying attention to!

that goes for any pattern, actually. if you notice something, it's worth thinking about why it might be there. try considering things like potential subtext, or what a technique might be trying to convey to a reader. even if you can't explain why every element of a text is there, you'll often gain something by trying to think about why something exists in a story.

^ sometimes the answer to that question is not always "because it's intentional" or even "because it was a good choice for the storytelling." authors frequently make choices that suck shit (I am a known complainer about choices that suck shit.) that's also worth thinking about. english classes won't encourage this line of thinking, because they're trying to get you to approach texts with intentional thought instead of writing them off. I appreciate that goal, genuinely, but I do think it hampers people's enthusiasm for analysis if they're not also being encouraged to analyze why they think something doesn't work well in a story. sometimes something sucks and it makes new students mad if they're not allowed to talk about it sucking! I'll get into that later - knowing how and why something doesn't work is also a valuable skill. being an informed and analytical hater will get you far in life.

so that's in-work literary analysis. id also recommend annotating your pages/pdfs or keeping a notebook if you want to close-read a work. keeping track of your thoughts while reading even if they're not "clever" or whatever encourages you to pay attention to a text and to draw patterns. it's very useful!

now, for out-of-work literary analysis! it's worth synthesizing something within its context. what social settings did this work come from? was it commenting on something in real life? is it responding to some aspects of history or current events? how does it relate to its genre? does it deviate from genre trends, commentate on them, or overall conform to its genre? where did the literary techniques it's using come from - does it have any big stylistic influences? is it referencing any other texts?

and if you don't know the answer to a bunch of these questions and want to know, RESEARCH IS YOUR FRIEND! look up historical events and social movements if you're reading a work from a place or time you're not familiar with. if you don't know much about a genre, look into what are considered common genre elements! see if you can find anyone talking about artistic movements, or read the texts that a work might be referencing! all of these things will give you a far more holistic view of a work.

as for your own personal reaction to & understanding of a work... so I've given the advice before that it's good to think about your own personal reactions to a story, and what you enjoy or dislike about it. while this is true that a lot of this is a baseline jumping-off point on how I personally conduct analysis, it's incomplete advice. you should not just be thinking about what you enjoy or dislike - you should also be thinking about why it works or doesn't work for you. if you've gotten a better grasp on story mechanics by practicing the types of pattern recognition i recognized above, you can start digging into how those storytelling techniques have affected you. did you enjoy this part of a story? what made it work well? what techniques built tension, or delivered well on conflict? what about if you thought it sucked? what aspects of storytelling might have failed?

sometimes the answer to this is highly subjective and personal. I'm slightly romance-averse because I am aromantic, so a lot of romance plots will simply bore me or actively annoy me. I try not to let that personal taste factor too much into serious critiques, though of course I will talk about why I find something boring and lament it wasn't done better lol. we're only human. just be aware of those personal taste quirks and factor them into analysis because it will help you be a bit more objective lol

but if it's not fully influenced by personal taste, you should get in the habit of building little theses about why a story affected you in a certain way. for example, "I felt bored and tired at this point in a plot, which may be due to poor pacing & handling of conflict." or "I felt excited at this point in the plot, because established tensions continued to get more complex and captured my interest." or "I liked this plot point because it iterated on an established theme in a way that brought interesting angles to how the story handled the theme." again, it's just a good way to think about how and why storytelling functions.

uh let's see what else. analysis is a collaborative activity! you can learn a lot from seeing how other people analyze! if you enjoy something a lot, try looking into scholarly articles on it, or youtube videos, or essays online! develop opinions also about how THOSE articles and essays etc conduct analysis, and why you might think those analyses are correct or incorrect! sometimes analyses suck shit and developing a counterargument will help you think harder about the topic in question! think about audience reactions and how those are created by the text! talk to friends! send asks to meta blogs you really like maybe sometimes

find angles of analysis that interest and excite you! if you're interested in feminist lenses on a work, or racial lenses, or philosophical lenses, look into how people conduct those sort of analyses on other works. (eg. search feminist analysis of hamlet, or something similar so you can learn how that style of analysis generally functions) and then try applying those lenses to the story you're looking at. a lot of analysts have a toolkit of lenses they tend to cycle through when approaching a new text - it might not be a bad idea to acquire a few favored lenses of your own.

also, most of my advice is literary advice, since you can broadly apply many skills you learn in literary analysis to any other form of storytelling, but if you're looking at another medium, like a game or cartoon, maybe look up some stuff about things like ludonarrative storytelling or visual storytelling! familiarizing yourself with the specific techniques common to a certain medium will only help you get better at understanding what you're seeing.

above all else, approach everything with intellectual curiosity and sincerity. even if you're sincerely curious about why something sucks, letting yourself gain information and potentially learning something new or being humbled in the process will help you grow. it's okay to not have all the answers, or to just be flat-out wrong sometimes. continuing to practice is a valuable intellectual pursuit even if it can mean feeling a tad stupid sometimes. don't be scared to ask questions. get comfortable sometimes with the fact that the answer you'll arrive at after a lot of thought and effort will be "I don't fully know." sometimes you don't know and that can be valuable in its own right!

thank you for the ask, and I hope you find this helpful!

[timperleyworldofwater]

hey so this is something i covered throughout my degree so i'm somewhat qualified to talk about it, plus i lived in austria (the bit that's in the Alps at that) for like a year. but to spell it out as simply as i can: it's not the geology we have a problem with. you are also not being accused of being a white supremacist here, and if you believe that is something you're being accused of, have a think about that. it's a fucking pervasive ideology that is much, much more than white hoods and nazi rallies. hopefully what i'm gonna talk about will help you understand that.

the Alps were vital to the Nazi Aesthetic because they symbolised a ""simpler way of life"" rooted in ""German tradition"" (read: white supremacy). the Nazis didn't really care as much about the actual agricultural traditions of the region which spanned throughout German, Austrian, Italian and Swiss territories, instead they kinda garbled together an aesthetic not dissimilar to the tradwife/homesteading shit we're seeing online today. they're pretty closely interlinked in fact, but that'll take another post to get into. after Austria was annexed, a decent portion of the Alps became Nazi territory, i.e. it was now for the ""German People"" only. invoking the Alps unprompted rings these alarm bells immediately!

plus (only really speaking for Austria here) the alpine villages are not as Untouched and Remote as you want to think. the state of Tirol has a pretty robust transport system (i know this having lived in Innsbruck, which had really good links to surrounding towns and villages outside the city). you also kinda forget you're in the Alps the longer you live there because you only know the mountains by their local names, like the Nordkette or Patscherkofel. it only really matters that they're the alps for tourism or like. geography and geological studies. it's just not important to people living in the (especially German and Austrian) Alps that they're in the Alps because it gets weird pretty fucking quickly if they talk about it a lot beyond basic geographical information. this is one reason out of many why it wouldn't work with DE's main themes, because almost everyone you talk to has something to say about Martinaise, but if it were a fictional alpine village near a state capital, i doubt that would still be true.

like this is what would happen if it was set in the alps: the young witch finds her neighbour's lost cat within 20 minutes of gameplay after asking around and finding it on a farm not too far from her house. you learn nothing about the place, you feel nothing for the characters. you have gained nothing. you might as well have logged on to the latest mmo slop game and beaten a bunch of 12 year olds over the same amount of time.

so anyway i would love to have a game like stardew valley with its fun mechanics and easy gameplay... but it's about a young venture capitalist who moves to the peak district trying to get planning permission for an outdoor activity centre on some farmland. the locals use it as a route for dog walking and hikes and the farmer who owns it isn't fucking budging.

was talking to my girlfriend about this and i think it's the "in the alps" part that makes the tweet so vile. like it is such a lethal dose of ideology it's really the tipping point between an eyerolling but unremarkable tweet and something that expresses a repellent worldview

[yaut-jaknowit]

Morally ambiguous corpo scientist gets transfered to a "exciting new project" only to find it's a Predator breeding program.

Breeding Program

Character: T'a'yta (Male Yautja) x AFAB!Reader

Warnings: I'M WARNING YOU NOW, I WENT FERAL BADLY. Rape/Non con contents. Sex pollen, SMUT, very rough sex, knotting, breeding. Read at your own risk, seriously.

Word Count: 3159

Summary: As a scientist, the ability to move up in the world was amazing. To surpass people you thought were the top dogs in your program and placed in a new section. A new program. You hadn't been briefed but the pay was phenomena. Nothing to complain about there. You met up with Amelia, the head of the program, at the facility and get a tour. At the end, she takes you down a hallway, opens a door to a pitch black room. Then shoves you in.

Author Note: I'm warning you all. This seriously might be the darkest thing I've ever wrote. I don't know why my brain went this route, but it did. Please, I'm warning you. If you don't like it, don't read it.

Masterlist

Ao3

After the years to finally work underneath this team of scientist, you were astonished to find they had referred you higher up the chain. To a new exciting project that could change the world. The opening letter they gave you easily hyped you up. Before you knew it, you were accepting the new position. Your items were going to be transferred over at a later date.

The new team wanted to meet you so bad. That’s what they told you. That’s what you believed. You found yourself at the new building that had just been finished. This was nerve racking but exciting at the same time. All new equipment and gear to test out. State of the art equipment has been entrusted to you. Out of all the people, you’ve been promoted to such a position. This was destiny!

Smiles greeted you when you first walked through the doors. The team lead was here in person to greet you the moment you stepped onto the new grounds.

Amelia says your name with a soft smile that complimented her features. “It’s so good to see you! We’ve been waiting for you to finally arrive. I hope the travel wasn’t bad?” She guides you towards the elevator and presses the button. The doors open and welcome you aboard. You step in after Amelia, nearly bouncing off of the ground with each step. A dream becoming reality.

“No,” you shake your head. “It wasn’t bad. The flight was beautiful though. Being that high up.” The memory of all the gorgeous clouds that covered the sky. Then, seeing as far as the eye could see. All of the land that went on and on. You loved it. “I’m so excited to be here too. It’s been my dream to work in an environment like this. When do I get to meet the rest of the team?”

There weren’t much for details about the project besides how cool it would be for you to join the team. Of course, you couldn’t say no. Not when a job like this could be the last one you would ever need. Plus, the pay was… wow. Amazing!

The elevator’s doors slid open to reveal a long hallway with black tile floors and grey walls. Little décor filled the empty space. You didn’t mind it. The place was still new. Maybe they hadn’t gotten around to fully furnishing the space.

Both of you walked out. Amelia laughed. “Oh, they’re around. They just didn’t want to crowd you and overwhelm you on your introduction day. Today is just meant to show you around, learn the space before the people, you know?” You nodded along, agreeing with everything she said. You already felt on the verge of being overwhelmed with a different workspace and people.

“Aw, alright. If you can, tell them I can’t wait to meet them, please?” you asked of her. All you wanted to do was impress the team more than you already have. To show them that you have a passion for science. It’s your livelihood.

“I sure can do that for you.” Amelia took the closet right down the hallway from the elevator. Her steps were precise with black two-inch heels. “They’ll be happy to know you’re thinking about them.”

A long, rectangular glass window was built into the wall. Amelia stops and motions towards the glass. Where you see tables of equipment just sitting there, ready for use. They are brand new, still shiny and lacking even fingerprints. Your eyes sparkle, hands twitching desperate to touch everything. But, you tamper down the feeling.

“This is amazing already, Amelia. I can’t wait to see the rest of the building.” When she smiles at you again, it doesn’t quite reach her eyes. “When will be my first day? I hadn’t gotten any emails about it.” You were concerned that maybe something as wrong with your emails. You needed to get everything right. This was your dream job. Over your dead body will you let this go.

She waves her hand like she’s brushing it off. “We’ve been having a little issue with our emails lately. Currently, we have you starting as soon as possible. Whenever you are ready.” Seriously?! That meant you could probably start today!

The tour continued down the same hall, taking a right. “Really? Is it possible I could start today? I would love to get my hands on the tools as soon as possible.” Hopefully you don’t overdo it with your passion to work. At least in this field.

“Of course. I’m glad because we were planning for your first day to start right now.” She shows you to another room similar to room before with a more open space. This side looked like it dealt with more chemicals than biology. “The team isn’t here today. But I’m more than happy to let you roam after the tour, get to know the place.”

This possibly couldn’t be happening! God, you were in heaven. No one could smack the smile off of your face. No matter how hard they tried.

“Thank you. I’m so glad I can start today. I promise not to let you down.” Another room is showed to you. “I’ve had a passion for science since I was little. I know I’m going to be a great fit for the team.”

“I know you won’t let us down.” The two of your continue further down a different hall. The doors become less welcoming and more… prison like. As if they’re trying to keep something in. In the heat of the moment, you silence the alarm going off in your head. “I know you will be a great fit. Very great fit to our team.”

There’s something in the way she said that nearly threw you off. Your brows furrowed for only a second before she stopped in front of a door. This one looked even more heavily modified than any of the others you’ve seen. It’s at the end of a hallway, furthest from the rest of the facility.

“Ah, here we are. I can’t believe the tour already has come to an end.” She almost sounded genuinely sad to end the tour. Amelia places her hand on a screen next to the entrance. “This is where I leave you to your work, doctor.”

The metal slab slid into a hidden pocket and revealed a dark, pitch black room. You tilted your head and peered inside. Maybe the lights will turn on by motion. You turn towards her. “Hey the lights-“

Hands shoved at you from behind. A scream left your lips as you stumble forward before falling to your hands and knees. The darkness instantly crowds you, trying to suck you into its being. You whipped your head around to find Amelia standing at the entrance with an evil grin. A shudder ran its course through your body. Your breathing started to increase.

“Have fun with our new… project.” Then, the door snapped close and sealed you in the pitch blackness that threatened to consume you whole.

Your heart thundered in your ears. Blindly, you stood on unsteadily legs with your arms out to feel around. One step forward almost sent you back to the ground. The shakiness of your entire being was throwing you off. You took another step of faith only to be blinded by white light that sent you back on your butt.

Pain stung at your sensitive eyes. The change didn’t take you long to peel them open and see the room you’ve been thrown into.

And the beast who watched with rapt attention.

Terror gripped at your heart. You didn’t move, didn’t blink, didn’t even breathe. It’s bright, vibrant eyes that nearly glowed were pinned on your trembling form. It’s barrel chest heaved with each deep intake of air it took. Never did it look away from you.

Something about it made you feel like prey in the sight of a predator. It just needed to sink its claws into your fragile flesh.

“You might be wondering what this thing is and why we’ve brought you here?” Amelia’s voice broke the tension in the air coming from a speaker system. You yelped at the sudden sound and scrambled backwards. The humanoid creature observed every move you made. The moment you moved, it roared with a piercing sound and lunged at you.

Heavy chains secured it to the wall. They creaked under its strength as its wild eyes looked at you. Its arm clawed at the air as if it could pull you closer. Your back smacked against the nearest wall as you stared at the creature. Fear evident in your eyes. You watched as the beast cried and spat spittle with each attempt to get to you. But, thankfully the chains held.

“This is the project we’ve raved about. Meet… a Yautja. An alien from outer space,” Amelia lets the words settle for a dramatic pause. In the mean time, the creature has finally calmed down once it realized it couldn’t get to you for the moment. “Well, we needed someone to test something out for us. Of course, I didn’t want to use any of our wonderful staff here. So, I choose you. Our new test subject.”

Test subject?! “For what!?” you screamed at her, hoping she could hear you. Hear the anger that wiggled through the terror.

“For our breeding program.” You blinked once. Twice. Three times. Then, the words finally sunk in completely. “We’ve captured this Yautja when he landed in LA. We gave him an aphrodisiac. Now, he’s become a mindless, breeding male. And you, our dear test subject, will be the first. We hope you survive.”

Silence entered the air afterwards. The speakers no longer buzzed with energy. Her words flew wildly inside of your mind, bouncing around every corner. You tried to make sense, come to terms with what she’s put you into. But it… you couldn’t settle. They’re using you for a breeding program with an alien. An alien that looked ready to tear you apart rather then- you stopped the thoughts. You swallowed thickly and weakly stood on shaky legs.

In horror, you observed the chains clicking open. Once the last one was released, there wasn’t even time to register the brown, humanoid shape flash across the room. Strong, massive hands snatched your throat and the front of your shirt. The fabric was torn from your form and discarded without any regard. Next, your pants and underwear were taken care of in the same matter.

You screamed and tried to kick and punch the mindless beast. All of your strikes hit. Yet none of them deterred him. It seemed like they didn’t even tickle him. It forced you face down, ass up underneath it. The entire palm of his hand gripped the side of your head, keeping you pinned in a primed position.

It leaned down and covered you with its entire body. Heat radiated off of it like a firepit. Flames flickering to lick at your clammy skin. You shuttered at the difference of temperature. It’s free hand reached between your legs but paused for a moment.

“I-I ca-an’t stop,” a throaty, croaky voice whispered into your ear. You tensed up underneath the beast before jerking at the touch of its fingers. They glided through your slit, gathering what slick had pooled. Your body betraying you at the knowledge of a monster getting ahold of you.

That almost… sounded like an apology of some kind. The scientists have turned this alien into a mindless, breeding machine with the aphrodisiac. The poor thing couldn’t control its actions. All it could do was follow instinct, despite the difference of species.

A whine surged past your lips when the wet pad of its finger rubbed around your hardening nub. At least, he was trying to make it bearable. You felt something blazing hot and throbbing slide between your open legs, rubbing against your slit. A moan left your lips before you could stop yourself. You didn’t stop struggling but your attempts were weakening.

The tip was tapered by the feeling of it. You felt it nudge against your entrance. He paused for a moment, as if fighting the drugs that filled his system. Then, his hips snapped forward and full sheathed his cock into you. You cried out against the dirty, concrete floor and clawed for escape. The beast added more weight to pin you down and began a pace you couldn’t comprehend. All before you had a chance to make sense of what’s up and what’s down.  

Each thrust nearly sent you flying towards the wall. If it wasn’t for his hand on your head, you would’ve been smooshed against it. Your eyes were clenched shut. “Fuck! S-slow… slow down!” you begged for relief, even for a moment. The beast deepened a growl and quickened his thrusts somehow. The pain only increased with pleasure. You were barely able to breath as he thrusted into you sent the air out of your lungs.

His other hand not holding your head gripped your hip in a bruising hold. Sharp talons punctured your flesh. Beads of red pooling to the surface then dripping down your belly and onto the cold, unforgiving floor. There was nothing you could do to stop him. All you were able to do was hold on for the unrelenting ride.

To ease some of the ache, you reached between your legs and circled two digits around your puffy clit. The stretch of his massive, thick cock pressed against every little nerve you had. At the touch, you mewled and quickened the speed almost to match his.

Your bottom lip was pinched between dull teeth, trying to hold in your noises. It was embarrassing. To take enjoyment out of this. But, fuck. The creature took up every inch of available space inside of you then some more. You could feel the way your stomach distended each time he sheathed himself to the hilt. There was something expanding at the base of him as well. It would catch each time he pushed in and out.

Thick fingers gripped the strands of your hair and yanked your head back. One arm slapped against the smooth concrete floors. You squealed and released the hold on your lip, forced to let everyone know how you were feeling.

The pleasure building in your stomach was amounting to something. Despite the ache and pains this gave you, you were feeling the coil tightening. You rewetted your fingers with your own juices before going back to work. The way they easily slid over your puffy clit had you seeing stars.

It continued to build and build. He lets go of your hair, letting your upper torso to lie back on the ground. You almost curled into yourself, confused about the nearing end, and panted heavily. “Oh, fuck. H-how?!” you muttered to yourself.

White flashed across your vision. Your walls clamped down on his thick shaft, trying to suck him in deeper. A weak, pathetic squeak escaped your vocal cords, the only sound you could make. Your entire body tensing up and rode out the waves of the overwhelming pleasure.

Amidst your orgasm, the beast growled in victory then pushed his hips flush with yours. A loud, deafening roar tore from his throat. You felt his cock swell inside of you, the base locking him inside of you. The ball of flesh pressed against the sensitive bundle of nerves just on the inside of your cunt. You trembled and shook underneath him. The ecstasy far too much for you to handle.

As the last of the pleasure started to fade away, you slumped weakly onto the floor, hips still held up by his hand. The feeling of the thick, swollen flesh boarded uncomfortable. You trembled and attempted to pull your hips away from his.

The creature snarled threateningly and ensnared your entire waist with an arm. You fearfully tensed up. But, he calmed down afterwards and buried his face into the crook of your neck.

Deadly fangs grazed across your flesh, pebbling the skin with goosebumps. Vibrations ran down from your spine. Barely a sound made. He rubbed his face against your skin, coating you with his scent.

You were thankful for that to be over. For the most part. He was still lodged deep inside of you with no way of pulling out. He wouldn’t let you. You took in deep, lungsful of air, and tried to regulate your breathing.

Some time past when you felt him start to deflate inside of you. With a grunt, the creature jerked his hips back. The ball of flesh popped free from your stretched entrance. He pulled away. Fresh air flushed over you and made you shiver at the coolness of the air.

Yet, you weren’t cold for long. The same heat from before prodded at your entrance. Your exhausted state immediately drained away. You jerked up and attempted to get on your hands. A massive hand slammed you back onto the ground. The alien snarled another warning to you then sunk all the way to the base inside of you again.

It wasn’t as painful as before. The earlier treatment had you stretched out beyond your limits. You still keened at the feeling and squirmed. He rewrapped his arm around your waist and pulled your hips flush with his.

“Again?” you asked with a cry. The first round was punishing enough. You didn’t know if you could survive another go with him.

He pulled his hips back until the tip was still sitting just inside of you. With a growl, the beast plowed back into you without any mercy.

The aphrodisiac was a powerful drug on him. It forced him to go on. All the way till you reached the verge of blacking out. Either from exhaustion or the amount of orgasms he pulled from you. You swore he went until his balls had been emptied inside of you, filling you with his seed. The inside of your legs coated with it. With a small puddle pooling between your trembling legs.

Finally, the creature collapsed to the side and pulled you with him. His knot was still lodged inside of you, keeping the contents of his last orgasm deep inside of you. You had no energy to fight. You let him take you, unable to barely keep your eyes open enough to see. They were filled with blurry tears.

His arm tightened around your waist, keeping you locked to him. You groaned, deep from your chest, eyes shut at this point.

“If you can hear me… I am sorry for my actions,” he muttered lowly into your ear. Only for you hear. You didn’t have the energy to answer. Just lying there, in his arms, letting sleep take you away. “I promise you. I’ll get us out of here.”

Hope fluttered to life in your chest.

[copilot-crashout]

Oh em gee I love ur writing so much it physically cleanses me sjsjjsjsj

Anyhoo, I was wondering if I could politely request Mouthwashing x reader (separate) where reader writes them “anonymous” love letters. Reader thinks they are being sneaky but the crew have known from the first letter its them and just chose to keep quiet^^? Idk I am kinda crazy about dorky!reader..

Ps #1(If u don’t wanna do all the characters, that fine!)

Pairing: Tulpar crew x gn!reader

Content Warning: None! [except I gave up on proofreading.. ( ᐡ๐ ·̫ ๐)〣]

[A/N]: You're so sweet! Thank you, lovely anon!! (°´˘`°) I default to all the characters, so don't worry! I don't want to leave anyone's favourites out! I wonder if you can tell who my favourite is from my work... ( ⩌⩊⩌)✧

CAPTAIN CURLY:

-> What a charming admirer he has! He grins when he notices you nervously looking around before entering his room, only to find the cutest little letter in his room professing their love to him.

-> He keeps hold of all of them. They're worth more than gold anyway. He doesn't have the heart to tell you right away, not when he sees your chest puffed out with pride when you place another letter in his room, a mission successful in your eyes. Instead, he focuses on noticing the little details he'd never seemed to pick up on initially. You had it bad for him, huh?

-> Curly teases you about it. He never mentions them directly, but he will often exaggerate his behaviours to the most recent letter he read. You mentioned how tall he was. He's sure to flaunt it off more.

Since when were things in this kitchen placed so high?

You sighed to yourself, stretching to try and grab some simple condiment packets you swore were placed on the countertop the last time you saw them. Luckily for you, Curly walks in at the perfect moment. When you ask for help, he gives a confident grin as he nods, stepping towards you. As expected of him.

What you didn't expect was the warm hand he placed on your hip or the way his chest pressed into your back as he grabbed exactly what you were asking for, the steady thrum of his heartbeat only making yours speed up. You're left red-faced and stuttering, nervous hands taking the packets out of his larger one.

"You're all red. If you're not feeling well, you should take a visit to Anya. I can walk you there."

JIMMY:

-> He loves it. End of. They boost his confidence in ways he didn't even know was possible. The idea of you watching him when he didn't notice was one he found sickly sweet, prideful that someone loved him as much as he deserved.

-> He was initially planning to tell you he knew after the first letter. He had dreamed about the way he'd hold your letter back to you, a sly grin as he watched you scramble for an answer, flustered before ultimately coming clean about your attempts to court him. Once he sees the second letter, however, his mindset changes.

-> It's simply too cute. The way you sneak around to keep it anonymous and the way you wear your heart on your sleeve. He's delighted by how much of your mind he occupies. It excites him to think about how much you try to learn about him. Do you know his routine by heart? What about his likes and dislikes? Better yet, were you trying to mould yourself into the perfect partner for him (although this seems more of a dream on his part than a genuine question...)? He gets a sick kick out of it.

-> He finds himself re-reading the letters in the middle of the night, the ones that point out the smallest parts of himself that you talked about so affectionately. It made him nauseous. Words so tender weren't something he came by so easily, nor was it something he believed he deserved. He's used to one-night stands, a cheap fuck, nothing so... romantic. Perhaps he could get used to this.

-> He's not going to be soft, though, as he teases you about it. Offhandedly mentions the letter and if you knew who could leave such a thing in his room and grins when you instantly deny it and make a show of him believing you. He gets incredibly touchy, too. His hands linger for a fraction longer than they need to. He stands as close to you as he can, looming over you whenever he has the time. Have you noticed the way the atmosphere changes when it's just the two of you alone? He'll look forward to your next letter. Maybe you wrote about it.

-> He could try playing the long game for once. The reward feels so much sweeter that way.

ANYA:

-> Anya is perceptive first and foremost. Rather than catching her admirer mid-delivery, she uncovers your identity through your handwriting.

-> The letters cheer her up endlessly. They're a sweet reminder of how someone adores her, even when she's overwhelmed. It's hard on board, but your letters become a routine that she looks forward to. I think she's one of the only characters who would tell you she knows, feeling guilty about leaving you in the dark about something that could embarrass you. However, she'd never ask you to stop. Anya gushes about how much she appreciates every single letter, keeping them and re-reading them when she can and she tells you how she figured it out, giggling when you stare at her like you're begging for the floor to swallow you whole.

-> Anya makes it a priority to keep you happy. Your letters do so much for her, she only wants you to feel the same. You'll find her lingering around you more, offering hugs or a shoulder to lean on whenever possible. If you're especially tired, she'll help finish your work with you. Another set of hands would always help.

-> She begins to write small compliments on her Post-it notes, leaving them in places you frequent. If you have tools you use, she places a note talking about how hardworking you are on there. Otherwise, you begin to find small notes in your room. It becomes a ritual between the both of you, sending each other letters when you can. She just wants you to know how loved you are.

DAISUKE:

-> For him!? Really!?

-> He's kicking his feet and giggling, rolling around in his bed, head buried into his pillows. If you thought you were dorky, then he's 100 times worse.

-> He's attached to your hip. You thought he was helpful and sweet? Well, he'll help you with your work! Fun to be around? In his free time, he's running to you for another round of board games or to play on his Game Boy.

-> He wouldn't know subtle if it slapped him in his face. It's unfortunate for the rest of the crew, who have to watch two love-sick adults pine for each other as if they're not reciprocated.

-> Whenever he feels especially sad, he re-reads the letters. Even if he might feel useless at times, that he doesn't have a plan for his future, he does have the assurance that you'll be there by his side. You're a great person. If you can find all these amazing things about him then... He's sure he can make something great of himself.

SWANSEA:

"Jesus, this kids got it rough."

-> That's his first thought before it slowly dissolves into a fond affection. He's a bit too old for this lovey-dovey yearning shtick, right? Initially, he finds himself sighing at the letters, wondering when and how would be the best way to stop this little game of yours. He feels undeserving of it. You have so much going for you. You simply don't deserve someone like him. He wants to push you away, but the letters mean too much to him. Instead, he becomes charmed by it all, awaiting every letter with bated breath.

-> You do know how to make him feel young again. Each letter leaves his heart pounding, feeling like a young schoolboy rather than a washed-out mechanic.

-> He keeps every single one. If you place them in little envelopes or place small gifts like stickers in them, you'll be glad to know he keeps it all in his bedside drawer.

-> He's one to return the favour, too. He's picked up a few skills with his work. Blue-collar jobs like this have enough transferable skills to help in the creative department. He hopes you're not too surprised if you find your broken items repaired or a small figure of your favourite animal made out of scraps in your room.

-> Perhaps... He's the one who's got it bad.

[mortalityplays]

I love the practice of requisitioning, remixing and reworking books, comics, movies etc. through any means you like, but I hate hate hate the way so much vocabulary that used to be rooted in individual creativity has been taken over by this kind of fucked up deference to mainstream publishing and ip.

easy example: everyone calls the characters they work up for their projects 'OCs' now. that genie is out of the bottle, I'm not even going to try and cram it back in. it's universal terminology. but I do want to reflect - why is the default position to assume that when someone says 'my characters' they mean something derivative, unless they specify 'my Original characters'?

similarly, all character relationships are 'ships'. but what's wrong with that? you say, it's just short for 'relationship'. and you would be right, by merit of completely ignoring the fandom ancestry and common understanding of that term in order to win an argument. because you know as well as I do that 'ships' aren't 'relationships', they're hypothetical romances that the speaker is rooting for. so why do I keep seeing people talk about shipping their OCs? why is a hypothetical relationship entertained and enjoyed by the creator of the work described using fan terminology?

I have for real no joke seen people talk about their 'headcanons' for their own characters, in their own stories. that's not a headcanon babe, that's canon!!! that's YOUR WORK. moreover, why are we even talking about the canonicity of your personal original writing? this isn't the star wars extended universe, why are international franchise IPs setting the baseline for the relationship you have with your writing and the terminology you use to conceptualise it?

tbc this is not a 'fandom brainrot' post. because I don't think it's fanwork that's the root of the problem. I think it's the insidious creep of capitalism and the ever more draconian weaponisation of copyright law that has rewritten our capacity for talking about creative work so that it revolves at all times around ownership and precedent. there is a deep learned anxiety about describing fictional works as fictional properties, that echoes in our vocabulary as we constantly make clear what is owned and what is not, what has been established on the record and what exists in the realm of speculation.

the reason 'fandom brainrot' is such a compeling stand-in for this issue is that it's really just one step downstream from all that voracious rent-seeking behaviour by publishers. if the only things you ever read or watch are in the milieu of those franchise copyright lawyers, that is the understanding of fiction-as-property you develop. if you're not exposed to a broader spectrum of art and artists, living and dead, who talk about their work as work - as expression, as experimentation, as a personal process and as a shared space with their audience - you will quickly be alienated from your own creative practice by design.

the point i want to make is this: going off the beaten track, exploring outside the franchises and bestsellers and box office babies, is not just a matter of good taste. imo it is a necessary act of solidarity with artists who still live, work and speak as individuals. it's a healthier environment for you as an artist. you deserve a relationship with your own work, not a ship.

[lyricwritesprose]

As someone who is currently discovering My Adventures With Superman and frankly rolling around in it like catnip, I feel that having Lois catch on fast was absolutely right for the show.

First of all, this show just moves hella fast. For whatever reason. If you want slowburn, it's all cool, there's other media out there, but that doesn't happen to be what this one is doing.

Second of all, the plotline does excellent work at establishing who Lois is. In fact, the show is doing an excellent job of establishing who just about everyone is. Clark is just Good, sweet and kind in a way usually reserved for Disney princesses, but he is also too cautious and rule abiding and unwilling to rock the boat until Lois is involved. Lois is brilliant, driven, a bit emotionally damaged and about one thousand percent insane, but believing in Clark keeps her from becoming too ruthless. Jimmy has got to have cast iron self control, I mean, this is a guy who has endless curiosity about cryptids and yet managed somehow not to grab a video camera and interrogate his Obviously A Cryptid roommate—simply because Clark is his friend and he wanted to respect his boundaries, I mean, seriously, what an absolute mensch. Guy deserves to be the most famous Best Friend in American media. And even the minor characters, like, Perry . . . is clearly offscreen eating antacids like they were fucking M&Ms, and it is mostly the fault of the aforementioned trio. But back to Lois and Clark.

The thing is, there may be actually more potential for juicy emotional complications out of a Lois who knows than a Lois who doesn't. I mean, first of all, you have to figure out what you even mean to him, and how much he lied to you, and then you have to work out how to connect to an actual alien who is sitting in a psychological place where no human ever has before, like Maslow's hierarchy of needs probably doesn't even apply to him, and second of all he is absolutely Going Through Shit because he has enemies and no idea what the fuck is going on and his space ship speaks a different language. Yeah, love, that's good, that's nice—but it's not going to be enough. You have to have a lot of other things, like good communications skills and raw insane courage, and if you don't have them you're going to have to learn them fast because this television show, as mentioned before, is not even interested in trying a slow burn plot.

To be clear, I have just gotten into this media, but by this point I trust them to come up with emotional torque because, I don't know, despite (despite? Not sure that's quite the right word) the silliness and the occasional Excessive Amounts Of Anime I feel that they just understand the assignment. This show is about Being Good, about hope and friendship and love. And not necessarily in a schmaltzy care bear sort of way, but in a "we understand that this is stupid hard in a world like this and maybe we should do it anyway," way.

i 100% believe every single adaptation of superman should be judged for accuracy based on how well they understand just how completely unhinged lois lane is as a person. because if you think THE lois lane wouldn’t do [fill in the blank], you’re wrong. she absolutely would do that and she will not be apologizing for it. superman being in love with her only succeeded in making her more comfortable and willing to do insanely dangerous things than she already was. because yes, she will 100% launch her body off a skyscraper just to prove a point. and guess what, idiot? she was right, so it was completely worth it and she will be doing it again. i’ve said it before and i’ll say it again, lois lane is absolutely bat-shit crazy. clark just happens to be really REALLY into her particular brand of crazy. like there is nothing lois won’t do with the right motivation. she is an absolute force of nature and that should scare the shit out of you.

[leadyoutothelight]

Ubi tu Gaius, ego Gaia

This wasn’t supposed to be your place in life, you were the second daughter, a spare given to the temple of Minerva to serve as one of the many temple maidens. But when your father comes to you, telling you of your sister’s sudden passing, suddenly you’re thrust into a new role. Expected to fill her place in a political marriage to the famed General Marcus Acacius Rome’s beloved war dog.

Rating: Explicit +18 MINORS DO NOT INTERACT

Warnings: Dubious Consent/Coerced Consent, Age Gap (no specified ages), Virginity Loss *discomfort mentioned, no blood* , Implied physical abuse from a parent, Patriarchal world and expectations of women, Grinding, Unprotected p in v sex, reader is a virgin, first time sex *please let me know if I miss anything*

Word Count: 8k

Author Note: Hello, first time writing for a Pedro Pascal character, but finally saw Gladiator II and I couldn't resist writing this! Please note, there is very little research into Rome actually done, I'm not writing this based on historical accuracy, just had an idea and wanted to write it. The title is based off a common Roman wedding vow meaning, Where you are Gaius, I am Gaia.

Please let me know what you think!

-

Your sister is dead, you shall be the one to marry General Acacius. 

It had been the most your father had ever spoken to you in your entire life, the most he’d even looked at you. 

Being born the second daughter of a noble family is about as important as a new pair of sandals. Especially when you were the last born of five, and three of the five being boys. Your father was more than happy to direct his attention to his sons and his wars. Your sister and yourself were content to live in the house learning from your mother, waiting for the day your father drafted a marriage contract and sent you to a new household. 

Until it was decided that in a bid to gain the gods favor you were given to the temple of Minerva as a temple maiden, at ten you were bundled up with your few worldly items and left to the Priestess' devices. 

It was a sudden and chaotic change. But after the first year you found, you didn’t mind this new living arrangement. Yes, you had chores now, and you needed to share things. But you grew to like your new home with other women and girls working in the temple. Learning the day-to-day needs, and expectations of your new home. You flourished, and your mother and sister visiting every now and again helped you settle as well. 

The last time you’d seen your sister she’d been an excited mess talking the whole time of her engagement to General Acacius, that they’d be wed as soon as he’d returned home from another conquest.

“Just think sissy, me, a famed general’s wife!”  

Her eyes glowed in the lamplight as she’d clutched your hands in hers. You’d given her a smile and a nod, as she went on and on. Whilst you’d thought to yourself that you’d be stuck cleaning the temple floors for the next week due to staying out longer than allowed.

“You’ll be there right?” 

Her question pulls you out of your glum thoughts, and you give her a wide eye-scrunching smile. You don’t have the heart to disappoint, maybe with your father’s status you can ask for the time…

A pain twinges through you at the thought, the high priestess had been kind, giving you the time in exchange for you doing more chores when you returned. 

But today, a day you expected your sister to visit, with her finished bridal veil in tow. You expected to ‘oh’ and ‘aw’ over her hard work, compliment her delicate needlework, ask her jokingly which parts your mother had helped with. To comfort her, she’d mentioned fainting spells had started since the date had been announced. 

Maybe you’d even offer to bring her into the inner sanctum to ask the goddess to protect her, and her future husband. To give her calm in the coming ‘battle’ of marriage. 

But now you sit across from your father. A beast of a man, skin tanned and leathered from the sun. Scars criss-cross along his arms, you resist the urge to glance at his left pinky. Where only a ghastly stump sits. 

His voice brokers no argument, yet, you can’t stop yourself.

“What do you mean?” 

He blinks, those dark eyes boring into you, and you see a flash of anger, mixed with surprise. Again, your existence has been a fleeting one in your father’s opinion. He was the one who sent you here…he was the one who gave you to the gods. He can’t just–take you back. 

“I wasn’t aware you were an imbecile–” 

“I’m not, but you cannot take me from the temple–from Minerva herself–” 

“I have made the appropriate tithes and the priestess herself has granted your hand–”

“I am to serve the goddess, that is what you–”

“And now you shall serve the family!” It’s the way he stands, the clatter of the chair he once occupied. The roar of his voice, the one you know he uses to order his troops into battle with. You cower, well aware that this rage is one you don’t survive. 

Tears brim over your lashes, and you bite your cheek to stop yourself from arguing further, here in the temple, you are free to share your opinions. Voice concerns, even vent frustrations, rare luxuries in this male dominated society. You’ve found you enjoy the thrill of conversing, and theology the other maidens and priestesses provide. 

But now, that’s all being taken, when you’re so close to the priesthood. To take the sacred robes of Minerva, learn the sacred rights. Bless soldiers, generals, and emperors in their great conquests for the Roman Empire. 

That was your purpose, your place in this world. Being born a woman was a curse in this empire, but here you were safe, here you could make a life. 

“You shall be collected in the morning, the wedding will take place in a week's time.” 

That tone again. One brokering no peace, no argument. The voice he commands thousands with, and you are one of them. 

The next morning passes in a blur, your few things taken by slaves. You’re barely given enough time to hug the girls, and women you’ve come to see as your new family. Careful to hide your tears as the High Priestess stops you outside the temple doors. 

“Go with Minerva’s blessing,” her voice is soft, though there is an edge to it. You don’t respond, for fear that you’ll fall to your knees and beg her to stop this. Claim Minerva’s hold over you, refuse your father’s demands. 

But she won’t, your father is a powerful man, marrying you to another powerful man, and not even the goddess of war can prevent it. 

You’re whisked away on a chariot handled by one of your father’s trusted soldiers. A clear warning to behave, the city passes by. A few of the bustling crowds pause to watch you entourage, but it’s fleeting, they return to their day-to-day lives as it's nothing new to see a noble pass in their gilded transports. 

A blink and you’re home. The home you hadn’t seen in years, still a marbled behemoth, a villa of luxury befitting one of Rome’s finest generals. The sandstone pillars glow in the mid-afternoon sun. Banners the color of blood mark the door, along with coal black braziers that will be lit when the sun disappears behind the mountains. 

Awaiting you is a group of slaves, heads bowed, they drop to kneel as you are escorted from the chariot and into the house. 

It’s barely changed, since you last ran about the halls, as a wild precocious child. Tripping over your feet to follow your older brothers. The large atrium, with a lapis lazuli lined pool. Filled with various plants your father brought home to your mother. More braziers and torches line the halls. 

Gold, and weapons decorate the walls, all of them spoils of war taken by your father. Silk curtains billow in the afternoon wind, and distantly you smell the incense your mother uses throughout the villa. 

Your sister used to smell of it, well, the incense and rose water. A pang ricochets through your chest.  Her voice doesn’t greet you, and you’ll never hear it again. Instead it’s the rush of silks, and the patter of feet, and your mother enters the atrium, in the warm glow of the sun she shines. 

Dark hair in tight ringlets cascading down her back, her eyes shine with unshed tears. She stops seeing you in the entrance, then her arms spread wide, and like a child you rush into them. 

She smells of her personal fragrance of jasmine, and cinnamon. The mixture your father had gifted her after a long campaign many years ago. She buries her nose into your hair, fingers threading through the tresses. She presses a quick kiss to the crown of your head. 

“Mama,” you whimper into her bosom, and she shushes you. Pulling back, her hands cup your face, thumbs brushing against the apples of your cheeks. 

“Well, not the way I expected my beloved child to return to me but,” another kiss is pressed to your forehead. Her lips are soft and warm, tears well and threaten to spill a lump gathers in the back of your throat. “I am grateful to have some time with you again.” 

 For a moment, you’re grateful for the reprieve as well. But it’s short lived. She ushers you into the house, into her personal chambers. Where she sits you on the lounge, it’s darker here. Not as many windows, and most of them blocked by curtains. 

The incense is thicker here, and you stifle a cough as you settle into the dimness with her. 

“Oh my dear one, how I’ve missed you.” She smiles, and again her eyes take you in. Just as you do her, she’s aged in the years you’ve been gone. Where once was smooth skin, you see wrinkles in the corners of her eyes. The creases of her lips, a few grey hairs decorate her dark curls. 

“I’m sorry it wasn’t under…better circumstances.” You mutter, fingers toying with the robes you had left in. They’re still the temple robes, a simple woven woolen tunic. Good for completing chores, and easy to move in. 

Not like her opulent robes, her pure white muslin, with a deep blue dyed sash. A golden belt cinching in her waist. Her smile falters, a look of pain crosses her expression. 

“Y–your sister fought hard against the sweating sickness,” her voice wavers, and tears spill over her lashes, smudging the kohl lining her eyes. “But, she has been given her last rights, and she rests now in Elysium.” 

You nod, your chin quivers, as your own tears rain down from your eyes. Your mother tuts, and leans forward her hands warm and soft, unlike your now calloused fingers and palms.

“She would not want us to mourn–” 

“But Mama, she wanted this,” you gesture to the room of grandeur around you. Feeling your mother’s gaze watching you as you struggle with your next words, “I was promised to Minerva–to the gods!” 

You stand beginning to pace as you consider everything, and are finally able to do so.

“She should be here, I should be at the temple, learning the rites, blessing soldiers–”

“My darling you’re here now,” your mother’s voice is firm, a tone you recognize as her warning, and just like your father you know she’s not going to entertain you abandoning this marriage. “Come.” 

She offers you a bedecked hand, rings, and bangles gleaming against her skin. All the finery a woman could want. Sullenly you take her hand as she pulls you beside her, her hands take yours in a solid grip. 

“Your sister’s passing was a tragedy, but the gods have smiled upon us, in that Acacius is willing to continue the betrothal with you,” her voice is soft, you stare at your clasped hands. She’d done this before, when you’d first been promised to the Temple of Minerva. 

How strange to be here again, a child begging her mother to see reason and send you back. She pulls your hands up to her lips, pressing a warm kiss to them, as more tears spill from your eyes. Rolling warm, and wet down your cheeks. 

“I don’t want to marry him Mama,” a soft sob leaves you, and you bury your face into her shoulder, losing yourself in her smell once more, you forget how much you’ve missed her. Missed this, just being with her, but there’s a hollow feeling inside of you, your sister should be here, and that makes more tears form. Another tut and her arms wrap around you, a hand goes to your cheek, another to your back. “I was happy at the Temple.” 

She hums low in her throat, the hand on your back rubbing soothing circles against your spine. She is warm, and solid, a soothing presence and she lets you weep. You don’t know how long you cry for but finally the hiccuping sobs ebb and you calm. 

She pulls back her hands returning to your cheeks as she takes in your red eyes, and tear-streaked face. 

“My love, I will say this to you, I understand more than you know,” she brushes a stray strand of hair out of your eyes, curling the wayward pieces behind your ear. “I know the fear of marrying a man, much less a military man.” 

You sniffle as she gives you a weak smile. “I swore to the gods, I would never commit the sin of marrying one of my girls to someone like their father.” 

She pulls back, her hands resting on her lap, your tears have dried and you sigh, nodding, face downcast as you consider her words. 

“I swear my love, I know your sister dreamed of love, and of a grand marriage, I assure you that General Acacius is a good man,” her fingers lift your chin and your eyes meet, she gives you a final wistful smile, “it may not be a marriage of love, but…maybe it can be a marriage of equals.” 

-

The next week passes in a blur, and suddenly it’s the hour before your wedding. The final adjustments to your sister's dress are being made. You stand alone, a slave placing pins in the areas the garment might drag. 

Silently staring at the reflection in the copper before you. You don’t recognize the girl in the reflection. Your hair has been styled in the traditional bridal braids. A golden hairnet pinned against your scalp, a few strands have managed to escape. Make up paints your skin, mica shimmers on your eyelids, kohl darkening your waterline. 

The slave pauses in her adjustments, she glances up with a fearful look. 

“M–my lady, I’ve run out of pins–” 

A spark of your father’s rage courses through you, of course it doesn’t fit you it was meant for your sister. 

“Go fetch some then!” 

You don’t mean to snap but your nerves are shot as it is. She jumps and with a fearful bow leaves the room. Alone you slump, staring at yourself, unwilling to keep staring at the stranger before you. Your sister truly spared no detail, the embroidery along the edges is her finest work. With golden thread painstakingly sewn into the edges, when it catches the light it almost seems to glow like fire. The main shawl dyed a deep burgundy, is decorated with words of protection, along with her favorite flowers, pale lilies blooming along the skirt. 

I want him to think me a goddess made flesh. 

You hear her in the back of your mind, and wonder…if you should have admonished her. Maybe her vanity was her downfall, and the gods sought to correct her error. Tears spring to your eyes at the thought, no, they couldn’t have. 

She was good, and kind; her only wish was to marry and give her husband strong sons. Now she lays alone, and cold in the family crypts. 

Your thoughts are interrupted by a loud chorus of calls from the atrium.

You hear it somewhere below, the revels have begun. The boisterous voice of your father as he jokes and cajoles with his old war fellows. The wine is flowing freely tonight, he has much to celebrate. 

“-it’s a good thing you had another one!” 

A laugh from your father as he claps someone on the back. 

“Ha! The only thing a second daughter is good for!” 

The rage sparks again, and before you can stop to think, you’re grabbing a jar of perfumed oil. Throwing it with a shriek, it lands with a satisfying shatter against the copper mirror. The thick liquid drips to the floor in a dark puddle on the sandstone. 

Your outburst has called attention to the crowd, a few moments of silence and your mother appears with the slave who left you. She gives a withering glare to the woman, who cowers, before turning her gaze to you. You clench your fist ready to fight, the rage in you growing, daring your mother to say something, anything.

“My love–” there is no time to admonish you, as a great rushing of horses and the wheels of a chariot sound, along with calls from the atrium. 

He's here. 

Before you can think your mother and the slave rush to finish the last minute adjustments, and finally the fine veil is placed over your head. You're dragged through the halls, almost tripping on the skirt, that’s still too long for your legs. 

Your sister’s belt is cinched so tight it cuts into the soft fat of your stomach, at least an old pair of your sandals fits, one of the only things of yours on you tonight. Your mother stops you just outside the atrium. The crowd is rowdy, the sweet smell of wine, the smokey herbs of the many roasted beasts, and finally the mixture of the florals from the many bundles of your sister’s favorite flowers fills your nose.

It’s beautiful, and your sister would have been beaming. You feel your stomach churn, your mother’s fingers rub soothingly along your arm, but it doesn’t quell the fear to run, the deer forced into the hunter’s trap. 

You don’t want to, but your eyes search the crowd, none of your brothers are in attendance. Your mother mentioned that all had been called away to far reaches of the Empire, one a rising commander in his own right. Another a promising scholar in Alexandria, and the last is a Senator, most likely schmoozing with the twin emperors to gain more political favor. 

Of course none of them felt it dire to come to their younger sister’s funeral, and the other’s marriage. You’re not surprised…though maybe a bit hurt, after all…they should have at least come home to give your sister her last rights. But even that is too pitiful a request compared to their great lives.

There are others here, all your father’s friends, and their wives, entertaining themselves with food and drink. Dressed in the finery expected for nobility, none of them take your attention for too long. 

You see your father speaking animatedly with someone you don’t recognize. He wears the traditional Generals uniform, the armor a pitch black, with the extravagant golden embellishments. A long red cape, fastened at his shoulder, you almost wonder if the man came straight from campaign. 

Then again…the twin emperors have been insistent that their empire grow, and the General has been the ever faithful war dog. You’d never met him in person, only the high Priestess of Minerva could bless the generals before a campaign.

You are loath to admit it, but he's handsome. In a rugged way, a strong jaw, full lips, a proud nose, with tanned skin. His beard is shorter but well kept, and his hair, was probably once a deep brown, has greyed and silvered with age, is kept in neat curls. 

His eyes remain on your father, but as if the gods enjoy your torment, seem to feel your gaze upon him. He turns, and those eyes the color of polished mahogany lance through you. 

For a moment you forget to breathe, forget to think. Those eyes take you in, just as you had done moments ago. But it’s short lived as your father spots you, and your mother. 

“Ah! Acacius, your bride arrives!” He leaves the General to come usher you over, you’re grateful for the veil, the fabric is thick enough it hides your face, so he can’t see your face very well, can’t see the panicked look in your eyes, as your father yanks you from your mother’s protective grasp. 

You want to reach out to her, to claw your way back, scream, dig your fingers into his eyes till he releases you, but resist. As he pushes you to the General, up close he’s nothing like you thought. He bows his head to you with a soft, “my Lady.” 

You respond in kind with a low bow and a muttered, “my Lord.” 

And with that the ceremony begins, with Acacius taking his place besides the officiant. One of your father’s many senatorial friends. 

Your father’s grip is a painful shackle around your wrist, the stump of his left pinky digs into your arm. 

“You will do well to make him happy girl,” he snarls beneath the music, his gaze burning a hole into the side of your skull. “It’s because of me, he accepted you, remember that.” 

You bite your cheek, the taste of copper filling your mouth as you ignore the remark, in favor of staring at the man who will take his place. 

The ceremony is short, the officiant stumbles over your name, as he clearly practiced for your sister’s name. It makes the ache in your chest grow, through the ceremony you feel the General’s gaze upon you as the final call for the gods to bless your union is made. 

“General, you may now reveal your bride, and take her to your home as is commanded by the gods.” 

Your heart has leapt from your chest to your throat as his hands take the veil and lift, revealing your face to him. 

Your eyes meet his, and he stares silently at you, those dark eyes taking you in, he leans forward and presses a kiss to the corner of your mouth. His lips are soft, the rasp of his beard against your skin sending a chill down your spine. The kiss is quick, emotionless, before pulling away, he glances to the side, you follow his gaze. Your mother stands beside your father, tears stream down her face, and your heart breaks seeing her in such despair. 

“Take a moment with your family, I will collect you in a moment.” 

You don’t waste a second rushing away from him to your mother’s arms, she collects you with a soft sob. You can’t help the tears that spring forth. 

“My love, my dear,” she weeps into your hair, and you cling to her, a little girl once more. Afraid of your father’s anger had you broken something, or worse he had come home from a failed campaign, and no one would be spared from his rage. 

She would be alone after this, alone with only your father for company, and he barely stayed home long enough to acknowledge her. She presses a kiss to your forehead. 

“Please…Mama, please,” a whimpered plea into her bosom, where your tears stain the silk, you look up to her eyes wide and terrified. “Don’t let him take me.” 

Her lower lip quivers, and more tears spill from her beautiful eyes, she shakes her head, her answer, and it cleaves your heart into two. She can’t stop this, no matter how much you beg, plead, all she could do was make sure he was a good man. You feel it then, Acacius’ arms wrap around your middle, the shriek that leaves you is animalistic, your fingers claw into your mother’s dress. 

“No! Mama! No!” It only takes one pull from Acacius for your mother to release you, your fingers pulled from her dress by your father. So you go to the next best thing, his arms, nails dig into skin. He grunts, the only sign of his pain, as he hauls you away from your mother who wails in chorus with your panicked shrieks. 

Your mother collapses, her palms slapping against the marbled floors in grief, your father just stands there, no better than a statue. No one will comfort your mother tonight…though you hope, somehow your sister will. That her spirit will curl about your mother’s form and give her rest. 

Or maybe she’ll spare you the horrors of the wedding night, but as you struggle uselessly against Acacius you know neither of those things will happen. As he drags you from the atrium to his chariot. You struggle, scream, and cry a final plea to Minerva to intervene. 

But alas she does not answer, and you're dragged from the safety of your mother’s arms and to Acacius’ villa where your wedding night awaits. 

-

It’s quiet in the spacious bedchamber, as you consider the marble flooring beneath your feet. Acacius hasn’t appeared since he placed you here. You don’t know how long it’s been, but you’ve ripped the veil and golden hairnet off. Your hair remains in its painful tangle of braids, you’re unsure of how to get them out without help. 

You take in the room around you, and from what you could see of Acacius’ villa like you thought it’s a luxurious home, maybe even greater than your father’s. 

You take in the fineries here, golden chairs and marble-topped tables. The fires of the braziers warm the room comfortably, and a soft breeze from the outside keeps the air fresh. The light of the fires gleam off the cups, and decanters of wine placed about the room, even the bed silks are a fine fabric you’ve never felt before. You absentmindedly run your hand over the softness, considering your options. The bed is pushed to the farthest wall, a behemoth of dark wood, and fine muslin curtains. 

Large windows line the eastern wall, to let in the light of the morning, and doors lead to what you can only assume is a terrace. Your legs twitch as you consider rushing to the doors, seeing how far the drop is, escaping into the night, the General none-the-wiser. 

But the idea is foolish, he’s a General with thousands at his beck and call, you are a noble girl, raised in the halls of a temple…You’d get no further than the city gates if you’re lucky. 

Your thoughts are interrupted as the sounds of footsteps echo into your silence. Your head snaps to the noise, a deer suddenly aware of the danger lurking somewhere in the trees.

He stands in the doorway, orange light of the fires play over his face, his eyes black pits, face unreadable. Your heart stutters in your chest, as you both consider each other. 

He’s removed his armor, though it does nothing to soothe you, he still stands with the rigidity of a military man. Prepared for battle should he need to be. You consider fighting him, but it’s a laughable idea. 

He could kill you with a flick of his wrist if he so dared, but he hasn’t moved closer. So you both remain silent, observing. 

It is a tense standoff, both of you sizing the other up, Acacius makes the first move. Taking a chair and settling into it with an exhausted huff. 

You tense, watching him as he takes a cup and decanter, pouring a healthy swig of wine, before drinking deeply. He leans forward, elbows resting against his knees, his fingertips trace the rim of his cup. 

“I am pleased to see you haven’t run yet,” he gives a humorless chuckle, and takes another drink. “I will say, this is not how I expected my wedding night to go.” 

You remain silent, waiting for his next move, he doesn’t say anything for a moment staring into the cup with a pensive look. 

“Those braids look uncomfortable,” those umber eyes meet your gaze. You can’t find your voice, so you nod. He sets the cup aside and stands, you can’t help your gaze falling to his exposed legs. The bunching of his muscles beneath his skin, the subtle strength there as he approaches you, a subtle grace to his movements that years of swordplay, and war-making has refined. The glow of his skin in the firelight, paints golden highlights along his flesh. 

A clearing of his throat stops your exploration, your gaze snaps up to Acacius, he gives you a small gesture to turn around. Tense you follow his directions, a moment of indecision, before the softest touch against your scalp. 

You can’t stop the yelp that leaves you, and the jolt of your body. The touch leaves, and there is a sigh through his nose. You wince, awaiting the strike that’s sure to come. 

Acacius surprises you again, a hand cups your chin and turns you to face him. You’re shivering, and fearfully you look up at the General. 

“I–I’m sorry–” 

“I promise, I will not strike you my Lady, I just want to unbraid your hair.” His hand is warm, his fingers large, and his palm is rough with calluses from holding a sword. You try not to notice how his hand easily encompasses your lower jaw. You nod, and again turn away. 

This time when his touch returns you steady yourself. For such large fingers, you’re surprised at their delicate caresses. As he finds the pins, and ties that keep your bridal braids in place. Slowly the pain of the too tight braids are relieved. 

His touch is gentle, the final braid is undone and he takes a moment to card his fingers through your tresses. A ripple of something courses through you, goosebumps alight along your skin. He chuckles, you finally find your voice. 

“Thank you, my Lord.” 

He doesn’t answer, instead you feel the brush of his knuckles against your cheek, again you jolt away. 

You know what must be done tonight, but you had hoped, and prayed, that he’d busy himself with his something, anything else. That you’d be forgotten and left to your own devices for the night. Acacius sighs through his nose, disappointment clear in his tone. 

“It is our wedding night—”

“I know my Lord–”

“I do not wish to force you.” 

The statement silences you, your heart pounding in its cage as you clench your fists in your lap. 

“My Lord Acacius please–” 

“My Lady,” he kneels beside you, one of his hands easily encasing both of yours. You resist every urge in your body to pull away from him, to scream, shout that you won’t allow him near you. “Your father told me, he would visit in the morning, to assure his daughter had done her duty.” 

You will give him this, he looks disgusted at the prospect, those full lips pulled into a grimace as he considers you. You glance down at his hand over yours, before meeting his gaze again. 

“Lord Acacius please, I was given as a child to the Temple of Minerva, I have no…no sense of the things required of a wife.” 

You press forward, one of your hands leaving the captivity of his to cover it. He seems surprised at the touch, glancing down at your hand before meeting your gaze again. His eyes are beautiful, and considering him for a moment, you recall your sister’s voice. 

He’s handsome sissy, you would agree. 

You can’t help the tears that spring to your eyes, you do agree, he’s handsome. A part of you was jealous that she remained at home, with your mother. But after settling in the temple you knew this life would never be yours, and some small part of you…knows that hint of jealousy still lingers, somewhere deep in your mind. It would have grown a bit more seeing who she married today. 

“You can learn–”

“I was given to Minerva,” you snap, a spike of your father’s rage, Acacius’ brows lift, a flash of surprise crosses his face. The hand beneath yours tensing. 

“What’s done is done, and your father would sooner kill you then return you to the temple.” 

His eyes darken and your shoulders slump, he’s well aware of your father’s reputation then. Well aware of the violence he so easily wielded even when not in battle. 

“But you could return me–” 

“I do not intend to.” 

That statement leaves you bewildered, and scrambling to come up with something, anything for him to change his mind. He leans forward, in the glow of the braziers he looks otherworldly, and you can’t find your voice. 

“I swear to you, I shall be a devoted husband, and I am willing to give you liberties in this union,” you consider silently, gaze going from his eyes and to his lips, “I cannot give you all the freedoms priesthood promises, but you will want for nothing.” 

You bite your cheek, searching his umber eyes for any hint of a lie. His other hand comes up once more to cup your cheek. This time you do not flinch from his touch. 

“I can make it pleasurable for you,” heat rises to your face as his thumb brushes over the apple of your cheek, “but this union must be consummated tonight, as the gods demand.” 

The silence between both of you is thick, he’s right, you know he is. There is no way you will be able to return to the temple, it is either death or Acacius. 

I swore to the gods, I would never commit the sin of marrying one of my girls to someone like their father.

Your mother’s words ring out in your mind, you close your eyes to stop the tears forming there, and nod. 

“I need to hear you,” he whispers, he’s moved closer to your face, the warmth of his breath ghosts over your lips. “Please, my Lady.” 

“I–I accept Lord Acacius, but–” you don’t know why it tumbles from your lips so freely, “but please, I don’t want it to hurt.” 

His lips press to yours suddenly, your eyes snapping open at the touch. The kiss is quick, he moves on from your lips to your cheek, then jaw, ending at your neck. 

You gasp as his tongue slips from between his lips, wetting the skin above your pulse. A heat rushes through you as his lips suck on the skin there, teeth nipping. 

Your fingers turn to claws as they grasp at his tunic, his hands shift easily, one going to cup your head. The other around your waist pulling you against him. His lips continue their exploration of your neck, finding new bits of flesh that he attends to. 

Pulling noises from you that surprise you, as a feeling courses through you, like you're hot and cold at the same time. You can feel your pulse between your legs, his mouth shifts further up your neck, Acacius pauses at your ear. 

“As we are going to be husband and wife,” he whispers into the shell of your ear, his lips sending electric zaps along the cartilage. You shiver as his voice drops to a rasp, “please call me Marcus, can you do that?” 

He nuzzles into the corner of your jaw, giving the skin another nip, a soft keen leaves you, as the nip sparks with a soft pain before dulling to a throb. As your fingers flex again in his tunic, unsure if you want to pull him closer or push you both apart. 

He has to be doing something, must have given you something, for this–feeling, this sensation to be burning through you. 

The hand at your waist is quick, fingers plucking at your sister’s belt, and it releases with a soft clink. The soft leather falls away, leaving your dress to sag, heat rises again to your cheeks and you squirm a moment. 

Acacius’ hand in your hair tightens, and for a moment you fear you’ve angered him. But all he does is move lower, the tip of his nose trailing down your neck, along the path he created with his lips. 

Marks of varying colors have bloomed across your skin, before stopping just above the cut of your bodice. Those deep brown eyes meet yours in silent question, you give a nod. The pulse between your thighs is growing. 

He works quickly finding the folds of your dress that keep it around your shoulders and covering your breasts. The silk falls away, you move to cover yourself, only the other temple maidens, and the priestess’ had ever seen you naked. 

Embarrassment fills you, should he see you, but Acacius is quick, his hands find your wrists. The short tussle sends you back onto the bed, Acacius hovering above you. He positions your hands beside your head. For a moment you consider fighting once more, thinking he intends you harm, but freeze as you see his eyes explore your newly exposed flesh. You can feel every touch of his gaze as he takes in the swell of them, your nipples pebbling in the sudden chill. 

“M–Marcus–ah!” 

Saying his name spurs him into his next move, his face descends and he presses a kiss to your sternum, then shifting to your right breast. The scrape of his beard on your skin sends flutters of pleasure through you. 

A surprised moan leaves you as his lips find your nipple, pulling the hardening bud between them, sucking lightly your body convulses. Your eyes roll, the muscles of your abdomen clench, fingers twitch digging into his knuckles as he keeps them pinned. You gasp, back arching, pressing harder into his mouth. As if your body begs for more of the sensation. 

“M–Marcus,” you whimper his name as his tongue swirls around the bud, and gives it another suck, toying with it gently between his teeth. “Marcus please!” 

Your mind is becoming a fog, unsure of what you’ve begun to beg for, but the pulsing between your thighs has grown almost painful, and even as Acacius switches to your other breast giving the neglected bud the same attention. 

You squirm, thighs pressing together, another soft moan leaves you as the pressure gives some relief. Acacius pauses in his attention to your breast, his eyes are changed, that umber brown swallowed by the dark of his pupil. He presses kisses to the swell of your breasts, before asking, “What do you need of me my Lady?” 

You whine struggling to understand his question, as your thighs writhe, you bite your lip whimpering. 

“You said it wouldn’t hurt–” 

“Where does it hurt?” His reaction is quick, he returns to your face pressing a kiss to the underside of your chin. “Tell me.” His breath is warm, and smells of the sweet wine he indulged in before all this. 

“B–Between–” it feels foolish to say it, to mention the heat between your legs, the strange throb that’s continued to grow since he began to touch you. 

“Where?” he asks again, another soft kiss to your jaw. 

“Between my legs,” you whine, the writhing of your thighs no longer offering the necessary relief. You feel feverish, unwell, your stomach tightening uncomfortably. Acacius huffs a laugh against your neck, he releases your hands trailing his fingers down your arms. Over your breasts, where he pauses a moment to toy with your nipples once more. 

Your body reacts back bowing, pressing yourself into his palms, Acaius hums appreciatively, before his hands delve lower. Pushing down the rest of your sister’s wedding gown, you’re left bare to him. 

Again the embarrassment of it floods you, but Acaius is quick to stop you, laying on his side, he pulls you against him, one hand cupping your hip, cradling it  between his legs where something rubs against you, your other hand nestled between your bodies, the other splayed to the side finding purchase in the sheets. 

Acacius pauses taking his bottom lip between his teeth whilst considering you. 

“I promise this will make the pain go away,” he whispers against your cheek, and you nod, half mad with the overwhelming sensations devouring every coherent thought. 

“Please.” You whine, and his hand slides between your legs, a noise leaves you that’s closer to a howl than anything. The rough pads of his fingers find your clit, two circle the bud slowly, teasingly. Before pinching it between them, your hips buck into his palm. He groans softly into your hair. Your fingers grasp at the sheets, the sudden onslaught of pleasure leaving you reeling in its wake. 

Only a few garbled pleas, and his name can leave your lips, it’s all your mind can remember to say. As his fingers release your clit, and return to swirling in indiscernible patterns around the sensitive bundle.

It feels like too much, the rough stroke of his finger pad against your clit, your fingers close around his wrist. 

“W–Wait–” your tongue can barely form the words, it’s too much, and if he keeps touching you like this, you fear you’re going to break. A sensation you can’t name growing in your belly, the throb between your legs. The wetness there drips down your thighs, staining the sheets beneath you. 

“T–too much, it’s too much.” Acacius hushes you, the muscles of his wrist flexing against your palm, as he continues his pattern. Every touch sends bolts of lightning up your spine, clouding your thoughts. 

“It’s alright, let it come,” he whispers against your throat, the rasp of his beard adding another feeling that makes your body ache. Muscles bunching, toes curling, your mouth opens in a silent scream as something washes over you. Overwhelms you, your nails dig into his shoulder. He muffles a noise into your collarbone. 

This must be the gods, or death, or–or something. Your body convulses, the throbbing between your legs pulses with every beat of your heart. Eyes rolling in your skull, Acacius groans as you settle. Something hard presses against your hip, but you're still caught in the undertow of whatever spell he’s placed you in. 

“M–Marcus,” you whine, as his finger toys with your clit again, the feeling borders on painful, as the touch causes another throb to race through you. “Wh–what did–” 

“To help with the next part,” he hums, his fingers leave between your legs. He pulls away from you. Body shivering at the loss of his warmth, the solid form of his body against yours, and you feel more exposed than ever before. A deer caught in the line of Diana’s arrow. As those soft umber eyes look over your exposed flesh, pausing at the swell of your breasts heaving with every breath. He pulls instantly at his wedding tunic, shucking the last article of clothing off. 

His skin is a sun kissed tan, and scars lace across the expanse of his flesh. Swords, spears, knives. All manner of brutality has marked him, as your gaze travels lower you stop. The hardness you felt against your hip, long, with a mushroom-like head, a pearl of fluid leaking from the tip. It bobs with his breathing, veins pulse along the shaft, it looks painful. You pull your hazy gaze to meet his, and your breath hitches. 

His eyes gleam in the firelight, he reminds you of the towering Jupiter, or Mars. A god made flesh, and your heart stutters as he kneels on the bed between your legs. That fear returning full force. You stumble, and scramble in the sheets. They stick to your sweat-coated skin, and you can’t escape as he settles over you. 

Caging you beneath his form, you struggle, Acacius traps your chin between his thumb and forefinger. 

“I will go slow,” he whispers, as again, tears brim along your lashes. His thumb rubs the hollow of your cheek, in an attempt to soothe. It doesn’t, as your heartbeat spikes, and your hands go to his chest weakly. His skin is rough, the scars knotted and strange against your fingers. He makes a noise low in his throat as your hands splay over his flesh. 

“But–I thought–” he settles between your thighs, you look into his eyes, pleadingly, a gasp leaves you as his length brushes against your core. He grunts, and his length twitches, you feel it, sudden and foreign. You squirm, and a hand lashes out grabbing your hip to still you. 

“Be still,” he whispers through clenched teeth. It’s a command and you listen, forcing your eyes closed, his hand leaves your hip to trail between your bodies. For a moment you think he only means to pleasure himself, but you tense as the head of his cock brushes against your cunt. 

“Acacius what–” you're silenced by the pain, though his previous ministrations helped, he’s large. The stretch of him entering you burns, your fingernails dig into his flesh, as if that will quell the pain of him entering you. 

You can’t breathe, can’t think, as all your mind can focus on is the stretch of his cock filling you. The way his length spears you, opening you, a soft whine of pain leaves you. Acacius huffs above you, the fingers beside your head curl into the sheets. He leans down forehead against your shoulder. 

“So tight,” he rasps, he almost sounds to be in pain as well. You think for a moment, maybe he’ll stop, that it’s too much for him as well. But he presses on, inch by painful inch he opens your cunt. “I’m sorry.” It’s whispered to the flesh above your heart, his lips brush the skin, sending a jolt of something through you once more. Just when you think you can’t take anymore, he settles. You whimper feeling the press of his hips between your own. 

“Acacius, please…” You don’t know what you’re begging for, as the uncomfortable fullness settles. You swear you can feel every part of him, the throb of his cock as it rests heavy and thick in your cunt a warm sort of pain that lingers behind your navel. His cock twitches and you jolt, Acacuis grunts above you, again that hand returns to your hips. 

“Y–You must be still,” he gasps, your fingers flex, you glance down, seeing the red half moons  where your nails dug into his flesh. You silently hope he felt a bit of the pain he put you through. “Tell me when it stops hurting.” 

You glance up, those eyes giving you pause, he’s watching you. Taking in every wince, every hiss of breath as he remains still inside you. For a moment you consider lying, telling him it’s too much, but as you both remain there you feel it. The burn subsides, though the fullness remains. 

You take your lip between your teeth considering him, the greatest General of Rome, waiting for your lead. You shift, and Acacius gasps, your cunt flutters around him. He shudders above you and his length throbs again inside you. 

“D–Don’t–move,” he pants his fist clenching again on your hip, his head lowering to press his forehead to your shoulder again. A stutter of breath against your skin. “Does it still hurt?” 

A whispered plea into your breast, you hesitate to answer him, fearing another onslaught of pain. His voice is soft, as his hips give a subtle thrust, “I swear my lady, I will make sure we both find our pleasures.” 

A choked noise leaves you, as his pelvis grinds against your clit, your cunt walls quiver around him. Acacius gasps, his arm shakes, and you whine. 

“Please–” he grunts, “tell me I can move.” His dark eyes meet yours and your lungs refuse to breathe, your heart stops beating for a moment, and the world slows. His skin shins with a layer of sweat, he’s trapped his bottom lip between his teeth.

“Move,” a whispered acceptance, Acacius takes it with fervor, pulling his hips back, your head falling back into the softness of the sheets. You feel every inch of him, every pulse of his veins as he pulls from your soaked core. 

Acacius curses under his breath as he begins a steady, hard rhythm. Every thrust of his hips sends new shock waves of bliss up your spine. Your cunt flutters around his shaft, with every thrust he seems to plunge deeper. 

Your legs shift, thighs settling on the solid form of his hips, the movement making you tighten. Acacius gasps, you feel it, another pulse of his cock. He grunts a hand moving from beside your head to between your bodies. Fingers finding your clit again, you keen, toes curling as another wave threatens to overwhelm you. 

“Are you close?” He huffs, his hips continue in their thrusting, his fingers dance along your clit. Your eyes can hardly focus on the man straining above you, all you can offer is another high pitched moan, your hips beginning to rise to meet his thrusts. 

Acacius groans again, his arm shaking as he pistons into you with a gratuitous fervor, the sounds of your coupling fill the room. Your skin shines with sweat, as does his, those eyes meet yours as he grits his teeth. 

His fingers press against your clit, and his cock thrusts so deep inside of you that for a moment you see stars. Your body stills, you forget to breathe for a moment, you think a scream of his name leaves you, as your back arches pressing into Acacius who shouts. 

Your cunt quivers around his length, you feel a warmth as his cock throbs inside of you. Both of you remain still, breath returning in soft pants as your vision returns to you. Acaius huffs above you, his hair, once well styled is mussed about his face. But you think distantly that it suits him, he leans down pressing his forehead to your chest. 

For a moment you wonder if you will have to remain like this, until with a slow movement Acacius pulls from you. A whine leaves you, as he pulls from your cunt. 

You lay on the bed, eyes closed, sweat cooling uncomfortably on your skin. None of your muscles wish to work, and you don’t sense Acacius still in the room. 

You’re shocked to feel…disappointment worming its way into your mind, after everything you should be grateful that he’s left you be. 

But you’re surprised again as his footfalls sound, with a tired blink you open your eyes and glance up. Acacius has put on a robe, and he kneels beside the bed with a rag, he takes his time cleaning you. 

It reminds you, for a moment, of the baths in the Temple where you would clean, and help clean other initiates. His hands are careful as he reaches between your thighs, noticing you tense he’s gentle. Careful of your still sensitive core the roughness of the rag makes you whine, hips bucking away from it. His hand steady's you as he works.

The rag cleans away the wetness that drenches your thighs, and butt. He finishes his cleaning, and then moves to lift you from the edge of the bed to the middle, carefully tucking you into the soft sheets. Your body doesn’t respond to anything, not even the want to help him does it respond, until he turns to leave. 

“Marcus,” your voice is soft, unsure, but he stops and turns looking at you, “aren’t you…going to stay?” 

His eyes seem to lighten at the question, he bows his head, “Would you like me to?” 

You nod, and he relaxes moving back to the bed he settles in beside you, careful not to move you too much. You don’t mind it though, you notice that his sheets smell of jasmine. You huddle into the sheets, staring at the general silently. 

And you consider…this marriage my not be one of love…but maybe…of equals.

[planckstorytime]

Dragon Age: The Veilguard: Strangled by Gentle Hands

*The following contains spoilers*

“You would risk everything you have in the hope that the future is better? What if it isn’t? What if you wake up to find the future you shaped is worse than what was?”

– Solas, Dragon Age: Inquisition (2014)

I. Whatever It Takes

My premium tickets for a local film festival crumpled and dissolved in my pants pocket, unredeemed as they swirled in the washing machine. Throughout that October weekend in 2015, I neglected my celebratory privileges, my social visits to friends, and even my brutal honors literary theory class. All because a golden opportunity stretched before me: a job opening for a writing position at the once-legendary BioWare, with an impending deadline.

The application process wasn’t like anything I’d seen before. Rather than copy+paste a cover letter and quickly swap out a couple of nouns here and there, this opening required me to demonstrate my proficiency in both words and characters – namely, BioWare’s characters. Fanfiction wasn’t normally in my wheelhouse – at the time, I had taken mainly to spinning love sonnets (with a miserable success rate). But I wouldn’t balk at this chance to work on one of my dream franchises – especially since the job prospects for fresh English BAs weren’t exactly promising. So, I got to work crafting a branching narrative based on the company’s most recent title: Dragon Age: Inquisition. Barely two months prior, I saw the conclusion of that cast’s story when the Inquisitor stabbed a knife into a map and swore to hunt her former ally, Solas, to the ends of the earth. Now it was my turn to puppeteer them, to replicate the distinct voice of each party member and account for how they’d react to the scenario I crafted. And if it went well, then maybe I’d be at the tip of the spear on that hunt for Solas. Finishing the writing sprint left me exhausted, but also proud of my work.

The folks at BioWare obviously felt differently, because I received a rejection letter less than a week later. Maybe they found my story trite and my characterization inaccurate, or maybe they just didn’t want to hire a student with no professional experience to his name. Regardless, I was devastated. It wouldn’t be until years later that I learned that, had my application been accepted, I likely would’ve been drafted into working on the studio’s ill-fated looter shooter, Anthem (2019), noteworthy for its crunch and mismanagement. My serendipitous rejection revealed that sometimes the future you strive to build was never meant to match your dreams. What seemed like an opportunity to strike oil actually turned out to be a catastrophic spill.

Still, my passion for the Dragon Age series (as well as Mass Effect) persisted in the face of BioWare’s apparent decline. I maintain that Inquisition is actually one of the studio’s best games, and my favorite in the series, to the point where I even dressed up as Cole for a convention one time. The game came to me at a very sensitive time in my life, and its themes of faith vs falsehood, the co-opting of movements in history, and the instability of power all spoke to me. But I will elaborate more on that at a later date. My point is, I held on to that hope that, in spite of everything, BioWare could eventually deliver a satisfactory resolution to the cliffhanger from their last title. Or perhaps it was less hope and more of a sunk cost fallacy, as an entire decade passed with nary a peep from Dragon Age.

As years wore on, news gradually surfaced about the troubled development of the fourth game. Beginning under the codename “Joplin” in 2015 with much of the same creative staff as its predecessors, this promising version of the game would be scrapped two years later for not being in line with Electronic Arts’s business model (i.e. not being a live-service scam). Thus, it was restarted as “Morrison”. The project cantered along in this borderline unrecognizable state for a few years until they decided to reorient it back into a single-player RPG, piling even more years of development time onto its shaky Jenga tower of production. Indeed, critical pieces were constantly being pulled out from the foundations during this ten year development cycle. Series regulars like producer Mark Darrah and director Mike Laidlaw made their departures, and the project would go on to have several more directors and producers come and go: Matthew Goldman, Christian Dailey, and Mac Walters, to name a few key figures. They eventually landed on John Epler as creative director, Corinne Busche as game director, and Benoit Houle as director of product development. Then came the massive layoffs of dozens of employees, including series-long writer Mary Kirby, whose work still made it into the final version of DA4. Finally, the game received a rebranding just four months before release, going from Dreadwolf (which it had been known as since 2022) to The Veilguard (2024) – a strange title with an even stranger article.

Needless to say, these production snags did not inspire confidence, especially considering BioWare’s been low on goodwill between a string of flops like Anthem and Mass Effect: Andromeda (2017) and, before that, controversial releases like Dragon Age II (2011) and Mass Effect 3 (2012). The tumult impacted The Veilguard’s shape, which scarcely resembles an RPG anymore, let alone a Dragon Age game. The party size is reduced from four to three, companions can no longer be directly controlled, the game has shifted to a focus on action over tactics a la God of War (2018), the number of available abilities has shrunk, and there’s been a noticeable aesthetic shift towards a more cartoonish style. While I was open to the idea of changing up the combat (the series was never incredible on that front), I can’t get over the sensation that these weren’t changes conceived out of genuine inspiration, but rather vestigial traces from the live-service multiplayer iteration. The digital fossil record implies a lot. Aspects like the tier-based gear system, the instanced and segmented missions, the vapid party approval system, the deficit of World State import options, and the fact that rarely does more than the single mandatory companion have anything unique to say on a quest – it all points to an initial design with a very different structure from your typical single-player RPG. The Veilguard resembles a Sonic Drive-In with a mysterious interior dining area – you can tell it was originally conceived as something else.1

That said, the product itself is functional. It contains fewer bugs than any previous game in the franchise, and maybe BioWare’s entire catalog for that matter. I wouldn’t say the combat soars, but it does glide. There’s a momentum and responsiveness to the battle system that makes it satisfying to pull off combos and takedowns against enemies, especially if you’re juggling multiple foes at once. Monotony sets in after about thirty or forty hours, largely due to the fact that you’re restricted to a single class’s moveset on account of the uncontrollable companions. Still, this design choice can encourage replay value, as it does in Mass Effect, and free respec options and generous skill point allocations offset the tedium somewhat.

While the character and creature designs elicit controversy – both for the exaggerated art direction and, in the case of demons and darkspawn, total redesign – the environmental art is nothing short of breathtaking. I worried that this title would look dated because of how long it had been in development and the age of the technology it was built upon. Those fears were swiftly banished when I saw the cityscapes of Minrathous, the cyclopean architecture of the Nevarran Grand Necropolis, or the overgrown ruins of Arlathan. But like everything in The Veilguard, it’s a double-edged sword. The neon-illuminated streets of Docktown, the floating citadel of the Archon’s Palace, and the whirring mechanisms of the elven ruins evoke a more fantastically futuristic setting that feels at odds with all three previous titles (even though all three exhibited a stylistic shift to some extent). It aggravates the feeling of discordance between this rendition of Thedas and the one returning players know.

All of these elements make The Veilguard a fine fantasy action-adventure game – even a good one, I’d say. But as both the culmination of fifteen years of storytelling and as a narrative-based roleplaying game – the two most important facets of its identity – it consistently falls short. Dragon Age began as a series with outdated visuals and often obtuse gameplay, but was borne aloft by its worldbuilding, characterization, and dialogue. Now, that paradigm is completely inverted. The more you compare it to the older entries, the more alien it appears. After all these years of anticipation, how did it end up this way? Was this the only path forward?

Throughout The Veilguard’s final act, characters utter the phrase “Whatever it takes,” multiple times. Some might say too many. I feel like this mantra applied to the development cycle. As more struggles mounted, the team made compromise after compromise to allow the game to exist at all, to give the overarching story some conclusion in the face of pressure from corporate shareholders, AAA market expectations, and impatient fans. Whatever it takes to get this product out the door and into people’s homes.

This resulted in a game that was frankensteined together, assembled out of spare parts and broken dreams. It doesn’t live up to either the comedic heights or dramatic gravity of Inquisition’s “Trespasser” DLC from 2015, despite boasting the same lead writer in Trick Weekes. Amid the disappointment, we’re left with an unfortunate ultimatum: It’s either this or nothing.

I don’t mean that as a way to shield The Veilguard from criticism, or to dismiss legitimate complaints as ungrateful gripes. Rather, I’m weighing the value of a disappointing reality vs an idealized fantasy. The “nothing”, in this sense, was the dream I had for the past decade of what a perfect Dragon Age 4 looked like. With the game finally released, every longtime fan has lost their individualized, imaginary perfection in the face of an authentic, imperfect text. Was the destruction of those fantasies a worthy trade? It doesn’t help that the official artbook showcases a separate reality that could’ve been, with a significant portion dedicated to the original concepts for Joplin that are, personally, a lot closer to my ideal vision. I think it would’ve done wonders to ground the game as more Dragon Age-y had they stuck with bringing back legacy characters, such as Cole, Calpernia, Imshael, and the qunari-formerly-known as Sten.

I don’t necessarily hate The Veilguard (I might actually prefer it to Dragon Age II), but I can’t help but notice a pattern in its many problems – a pattern that stems from a lack of faith in the audience and a smothering commitment to safety over boldness. As I examine its narrative and roleplaying nuances, I wish to avoid comparing it to groundbreaking RPGs such as Baldur’s Gate 3 (2023) or even Dragon Age: Origins (2009), as the series has long been diverging from that type of old-school CRPG. Rather, except when absolutely necessary, I will only qualitatively compare it to Inquisition, its closest relative.

And nowhere does it come up shorter to Inquisition than in the agency (or lack thereof) bestowed to the player to influence their character and World State.

II. Damnatio Memoriae

No, that’s not the name of an Antivan Crow (though I wouldn’t blame you for thinking so, since we have a character named “Lucanis Dellamorte”). It’s a Latin phrase meaning “condemnation of memory”, applied to a reviled person by destroying records of their existence and defacing objects of their legacy. In this case, it refers to the player. When it comes to their influence over the world and their in-game avatar, The Veilguard deigns to limit or outright eliminate it.

Save transfers that allow for the transmission of World States (the carrying over of choices from the previous games) have been a staple of the Dragon Age and Mass Effect franchises. Even when their consequences are slight, the psychological effect that this personalization has on players is profound, and one of many reasons why fans grow so attached to the characters and world. At its core, it’s an illusion, but one that’s of similar importance to the illusion that an arbitrary collection of 1s and 0s can create an entire digital world. Player co-authorship guarantees a level of emotional investment that eclipses pre-built backgrounds.

However, The Veilguard limits the scope to just three choices, a dramatic decrease from the former standard. All import options come from Inquisition, with two just from the “Trespasser” expansion. One variable potentially impacts the ending, while the other two, in most cases, add one or two lines of dialogue and a single codex entry. Inquisition, by contrast, imported a bevy of choices from both previous games. Some of them had major consequences to quests such as “Here Lies the Abyss” and “The Final Piece”, both of which incorporated data from two games prior. The Veilguard is decidedly less ambitious. Conspicuously absent options include: whether Morrigan has a child or not, the fate of Hawke, the status of the Hero of Fereldan, the current monarchs of Fereldan and Orlais, the current Divine of the southern Chantry, and the individual outcomes of more than two dozen beloved party members across the series. Consequently, the fourth installment awkwardly writes around these subjects – Varric avoids mentioning his best friend, Hawke, as does Isabela ignore her potential lover. Fereldan, Orlais, and the Chantry are headed by Nobody in Particular. Morrigan, a prominent figure in the latest game, makes no mention of her potential son or even her former traveling companions. And the absence of many previous heroes, even ones with personal stakes in the story, feels palpably unnatural. I suspect this flattening of World States into a uniform mold served, in addition to cutting costs, to create parity between multiple cooperative players during the initial live-service version of Morrison. Again, the compromises of the troubled production become apparent, except this time, they’re taking a bite out of the core narrative.

Moreover, the game’s unwillingness to acknowledge quantum character states means that it’s obliged to omit several important cast members. At this point, I would’ve rather had them establish an official canon for the series rather than leaving everything as nebulous and undefined as possible. That way at least the world would’ve felt more alive, and we could’ve gotten more action out of relevant figures like Cassandra, Alistair, Fenris, Merrill, Cole, and Iron Bull. Not to mention that The Veilguard’s half-measure of respectful non-intereference in past World States ultimately fails. Certain conversations unintentionally canonize specific events, including references to Thom Rainier and Sera, both of whom could go unrecruited in Inquisition, as well as Morrigan’s transformation into a dragon in the battle with Corypheus in that game’s finale. But whatever personal history the player had with them doesn’t matter. The entire Dragon Age setting now drifts in a sea of ambiguity, its history obfuscated. It feels as gray and purgatorial as Solas’s prison for the gods.

Beyond obscuring the past, The Veilguard restrains the player’s agency over the present. When publications first announced that the game would allow audiences to roleplay transgender identities and have that acknowledged by the party, I grew very excited – both at the encouraging representation, and at the depth of roleplaying mechanics that such an inclusion suggested. Unfortunately, The Veilguard offers little in roleplaying beyond this. The player character, Rook, always manifests as an altruistic, determined, friendly hero, no matter what the player chooses (if they’re offered choices at all). The selections of gender identity and romantic partner constitute the totality of how Rook defines themselves, post-character creation – exceptions that prove the rule of vacancy. Everything else is set in stone. The options presented are good, and should remain as standard, but in the absence of other substantive roleplaying experiences, their inclusion starts to feel frustratingly disingenuous and hollow, as if they were the only aspects the developers were willing to implement, and only out of obligation to meet the bare minimum for player agency. In my opinion, it sours the feature and exudes a miasma of cynicism.

Actual decisions that impact the plot are few and far between, but at least we have plenty of dialogue trees. In this type of game, dialogue options might usually lead to diverging paths that eventually converge to progress the plot. You might be choosing between three different flavors of saying “yes”, but as with the World States, that illusion of agency is imperative for the roleplaying experience. The Veilguard doesn’t even give you the three flavors – the encouraging, humorous, and stern dialogue options are frequently interchangeable, and rarely does it ever feel like the player is allowed to influence Rook’s reactions. Relationships with companions feel predetermined, as the approval system has no bearing on your interactions anymore. There are so few moments for you to ask your companions questions and dig in deep compared to Inquisition. Combined together, these issues make me question why we even have dialogue with our party at all. Rook adopts the same parental affect with each grown adult under their command, and it feels like every conversation ends the same way irrespective of the player’s input. With the exception of the flirting opportunities, they might as well be non-interactive cutscenes.

Rook’s weak characterization drags the game down significantly. With such limited authorship afforded to the player, it’s difficult to regard them as anything more than their eponymous chess piece – a straightfoward tool, locked on a grid, and moving flatly along the surface as directed.

III. Dull in Docktown

On paper, a plot summary of The Veilguard sounds somewhere between serviceable and phenomenal: Rook and Varric track down Solas to stop him from tearing down the Veil and destroying the world. In the process, they accidentally unleash Elgar’nan and Ghilan’nain, two of the wicked Evanuris who once ruled over the elven people millenia ago. With Solas advising them from an astral prison, Rook gathers a party together to defeat the risen gods, along with their servants and sycophants. Over the course of the adventure, they uncover dark truths about the origins of the elves, the mysterious Titans, and the malevolent Blight that’s served as an overarching antagonistic force. Eventually, Rook and friends join forces with Morrigan and the Inquisitor, rally armies to face off with their foes, and slay both the gods and their Archdemon thralls before they can conjure the full terror of the Blight. As Solas once again betrays the group, Rook and company have to put a decisive stop to his plans, which could potentially involve finally showing him the error of his ways.

The bones of The Veilguard’s story are sturdier than a calcium golem. Problems arise when you look at the actual writing, dialogue, and characterization – the flesh, blood, and organs of the work.

I’ve seen others chide the writing as overly quippy, but that better describes previous titles. Rather, I think The Veilguard’s dialogue is excessively utilitarian and preliminary, like a first draft awaiting refinement. Characters describe precisely what’s happening on screen as it’s happening, dryly exposit upon present circumstances, and repeat the same information ad nauseum. This infuriating repetition does little to reveal hidden components of their personalities, or their unique responses to situations. You won’t hear anything like Cole’s cerebral magnetic poetry or Vivienne’s dismissive arrogance. Many exchanges could’ve been uttered by Nobody in Particular, as it’s just dry recitation after recitation. It almost feels like watching an English second language instructional video, or a demonstration on workplace safety precautions. Clarity and coherence come at the cost of characterization and charisma.

Words alone fail to make them interesting. Most companions lack the subtlety and depth I had come to expect from the franchise, with many conversations amounting to them just plainly stating how they’re feeling. Most rap sessions sound like they’re happening in a therapist’s office with how gentle, open, and uncomplicated they feel. Compare this to Inquisition, where every character has a distinct voice (I should know, I had to try to copy them for that stupid application), as well as their own personal demons that it betrays: Sera’s internalized racism, hints of Blackwall’s stolen valor, Iron Bull’s espionage masked by bluster, or Solas’s lingering guilt and yearning for a bygone age. These aspects of their characters aren’t front and center, but things the audience can delve into that gives every moment with them more texture. The Veilguard’s companions lay out all their baggage carefullly and respectfully upfront, whether it’s Taash’s multiculturalism and gender identity issues or Neve’s brooding cynicism towards Tevinter’s underbelly. You’ve plumbed the depths of their personas within the first few minutes of meeting most of them.

Small exceptions exist. Professor Emmerich Volkarin stands out from the rest of the cast as a particularly inspired character: a charming, Vincent Price-like necromancer. His attachment to tombs and necromancy as a way to cope with his crippling fear of death makes for curiously compelling melodrama. The way in which he ultimately has to face his fear – either by foregoing his opportunity for immortality to save his beloved skeletal ward, Manfred, or by allowing his friend to pass on so that he can transcend into a new type existence – rises above the other binary choices in the game by being both narratively interesting and legitimately difficult to judge. Still, I feel Emmerich’s whole “lawful good gentleman necromancer” conceit, while a unique and clever subversion of tropes, would’ve worked better if it actually contrasted with anyone else in the party. Instead, the whole crew is full of unproblematic do-gooders who are forbidden by the game to nurture any meaningful interpersonal conflict. While I’d appreciate this lack of toxicity in my real-life relationships, fictional chemistry demands more reactive ingredients.

The Veilguard’s developers frequently positioned the game as “cozy” and about a “found family”, but I can guarantee you that there’s more tension at my Thanksgiving dinners than there is anywhere in this title. This family would get along swimmingly even during a presidential election. The thing about the “found family” trope is that it’s more satisfying when it’s earned. Here, it represents the default state, the starting point, and the status quo that they will always return to. Any minor squabbles (Harding wanting to sleep in the dirt, Emmerich taking too many books on a camping trip, Taash not liking necromancy) are introduced and squashed within the same scene. They all feel so extraneous. There’s so little friction among the companions here that you’d think it disproves Newton’s Third Law. The previous games never struggled in this regard, which makes the choices here all the more baffling.

Beyond the intra-party dynamics, characters lack grit or darkness to them – even when the narrative absolutely calls for it. Remember how I described the necromancer as lawful good (to use traditional Dungeons and Dragons alignments)? Yeah, that’s every character. Even the demonic assassin. Lucanis is a notorious hitman possessed by a demon of Spite, and possibly the weakest character of the game. This may or may not be due to the fact that his writer, Mary Kirby, was laid off mid-development. Regardless, he has noticeably less content than the other party members and generally feels unfinished. The demonic possession storyline goes nowhere; he doesn’t exorcise Spite, nor does he learn more about it or how to live with it. Instead, Spite is just an excuse to give Lucanis cool spectral wings (which he will use to fail several assassination attempts). The demon itself mostly just comes across as rude rather than threatening. The biggest issue, however, stems from the absence of any edge to Lucanis. When confronting his traitorous cousin, Ilario – the man who sold out Lucanis’s family to an enemy faction, kidnapped his grandmother, and made multiple attempts on his life – our grizzled, hardened assassin, pushed to the brink, demands… due process. Seriously, if your choices have led Lucanis to have a hardened heart, his method for dealing with the grievous traitor is sending him to jail. That’s The Veilguard’s idea of vindictive brutality among a clan of unforgiving murderers-for-hire. By contrast, Inquisition features Sera insubordinately murdering a stuck-up nobleman for talking too much. I believe that if modern BioWare had written The Godfather (1972), it would’ve ended with Michael Corleone recommending his brother-in-law to attend confession and seek a marriage counselor.

The writers seem intent on making the cast wholly unproblematic, with no way that the audience could ever question their morality or taste the delicious nuance of seeing someone you like do something bad. Measures were taken to child-proof every aspect of the good guys so that they couldn’t possibly be construed as anything else – even if it constricts them to the point of numbness and eventual atrophy.

To make things as palatable and accessible as possible, the language itself was dumbed down. Characters make frequent use of neologisms and bark phrases like “Suit up,” or “These guys go hard.” It emulates popular blockbuster superhero stuff rather than staying true to the diction the series traditionally employed. It’s all about the team, and the entire Dragon Age world has been stripped down into simplistic conflicts and recognizable stock characters.

This is why The Veilguard’s story largely fails. Despite being ostensibly being about the characters, they come off as an afterthought. Most of the time, only the sole requisite follower has anything to say on a given mission. Even in combat, their wholeness as fully-implemented party members falls short of expectations. Their damage output pales in comparison to the Rook’s, they have no health and cannot be downed in battle, and they mainly exist to give the player three extra ability slots. That’s the game’s true ethos for the companions, whether in combat or dialogue – utility, tools to make things happen rather than elegantly crafted identities. We end up with the largest amount of content per companion among any game in the franchise, only to have the weakest roster.

I know these writers can do better, because I’ve seen them do better. Trick Weekes wrote Iron Bull, Cole, and Solas in Inquisition, as well as Mordin Solus and Tali’Zorah in Mass Effect 2 (2010) and Mass Effect 3. Mary Kirby wrote Varric throughout the series, as well as Sten and Loghain in Origins. Plenty of other experienced writers, such as Sylvia Feketekuty and John Dombrow also contributed, so I can’t put any of the blame on a lack of skill. I don’t know if the mistake was trying to appeal to a wider audience, or if the constant reorientations of the DA4 project drained the crew’s passion and left them lacking in time to polish things.

I personally suspect that the writers had to rush out a script for all of the voiced dialogue. A video from August of 2020 showed off the voice actors for Davrin and Bellara, more than four years before the final game’s release. I think the codex entries, letters, and missives that you find throughout the game, which consist of only text, are much better written than the dialogue. My theory is that the writers had more time to revise and spruce up these tidbits, where edits were minimally invasive, as far as production is concerned. But my knowledge is limited; after all, BioWare rejected my application almost a decade ago.

Still, there are aspects of The Veilguard’s plot that I enjoy. The lore reveals were particularly satisfying2, and many felt rewarding after a decade of speculation. I called that elves were originally spirits, as well as the connection between the Archdemons and the Evanuris, but I wouldn’t have guessed that the Blight formed out of the smoldering rage of the Titans’ severed dreams. I’d concisely describe The Veilguard’s story as the opposite of Mass Effect 3: Whereas ME3 did excellent character work, the characterization in The Veilguard leaves much to be desired. Whereas ME3’s tone was overwhelmingly grim, The Veilguard feels inappropriately positive. Whereas ME3’s lore reveals ruined much about the series’s mystique, The Veilguard’s helped tie the setting’s history together. And whereas ME3 fumbled the ending about as much as it possibly could, The Veilguard actually coalesces into a spectacular third act.

While I think the twist with Varric’s death is weak (outright pitiful compared to the Dread Wolf twist of Inquisition), the actual events that make up the finale carry a momentum and urgency that the rest of the game severely lacked. Everything from the sacrifice and kidnapping of Rook’s companions to the slaying of Ghilan’nain to the awe-inspiring battle between the Dread Wolf and Archdemon Lusacan – the whole affair takes the best parts of Mass Effect 2’s Suicide Mission and elevates it to the scale of an apocalyptic series finale. Ultimately, Solas takes center stage as the final antagonist, and the drama crescendos to a height the rest of the game desperately needed. He remains the most interesting character in the game and perhaps the franchise, and thankfully, the resolution to his story did not disappoint me (though I would’ve preferred the option for a boss battle against his Dread Wolf form if the player’s negotiations broke down). So in that sense, I think the worst possible scenario was avoided.

But is that really worth celebrating? Averting complete disaster? Exceeding the lowest standards? In many regards, The Veilguard still could have been – should have been – more.

IV. A World of Tranquil

In my essay on Final Fantasy VII: Rebirth (2024), I briefly discussed a trend in media to sand off the edges so as not to upset the audience in any way. The encroachment of this media sanitization seems to be an over-correction to the brimming grimness of late 2000s and early 2010s fiction (to which the first two Dragon Age titles belong), which earned comparable levels of criticism. Like Solas, I occasionally feel trapped in a cycle of regret, where it feels like our previous yearning for less aggressive, mean-spirited content led to a media landscape that prioritized patronizingly positive art. Now it’s clear to me that, in order to have a point, you need to have an edge.

Dragon Age historically drew a very progressive audience, and many of them congregated around Tumblr in that website’s heyday. Tumblr has garnered something of a reputation for overzealous discourse and sensitivity among its userbase, and I think that the developers of The Veilguard, in an attempt to cater to one of their core audiences, may have misunderstood both that passion and the fundamental appeal of their products. They became so concerned about optics, about avoiding politically charged criticism, that they kneecapped their world-building, rendering it as inoffensive and sterile as possible. It’s not so much “PC culture” as it is “PG culture.”

To that end, the various governments, factions, and societies of Thedas lost their edge. Dragon Age previously presented itself as anti-authoritarian by showcasing the rampant abuses of power across all cultures. Whether it was the incarceration of mages under the Chantry, the slavery practiced by the Tevinter Imperium, the expansionist anti-individualism of the Qun, the restrictive dwarven caste system, or the rampant racism against elves, social strife abounded in this world. I think that’s one thing that drew so many marginalized fans to the series. But the correlation of fictional atrocities with those of real life frequently prompted volatile discourse, with many concerned about how allegedly allegorized groups were being represented. You began to see countless essays pop up by folks who use the phrase “blood quantum” more than any healthy person should for a setting about wizards. BioWare responded to this by making Thedosian society wholly pleasant and the people in power responsible and cool and the disparate cultures tolerant and cooperative. If nothing’s portrayed negatively (outside of the cartoonishly evil gods), nobody can take offense, right?

For starters, the Antivan Crows have gone from an amoral group of assassins to basically Batman. These figures, which previously purchased children off slave markets to train them into killers, are now the “true rulers” of Antiva, by which the official government derives its authority. The Crows in The Veilguard stand against the insurgent qunari army as heroes of the common folk. They’re not an unscrupulous faction that Rook is reluctantly forced to ally with for the greater good; no, the Crows are simply good guys now. When the pompous governor of Treviso rails against them, with such audacious claims as “assassins and thugs should not represent the citizenry,” we’re meant to laugh at the governor’s foolishness. The unintentional implication this sends is that lethal vigilantism and unchecked power are cool because the people who use it are cool and stylish. The slave trade goes unacknoweldged; Antivan children want to grow up to be assassins now. The Crows never do anything wrong in The Veilguard – the governor is later revealed to be cooperating with the invaders for their own power. BioWare avoids the unpleasantness inherent in the Crows’ concept by pretending it never existed.

Perhaps more ridiculous is the Lords of Fortune, a new faction of pirates and treasure hunters based out of Rivain. Except they don’t really do piracy or treasure hunting. The game goes to lengths to ensure that the audience knows that the Lords don’t steal important cultural artifacts from any of the tombs and ruins they raid. What do they steal, then? There is no such thing as an ethical treasure hunter – plundering indigenous sites for souvenirs is inherently problematic – but the writers wanted to reap the appeal of adventurous swashbucklers without any of the baggage, regardless of whether it makes sense or not3. It comes across as a child’s idea of a pirate: they’re not thinking about the murder and looting, just the funny men with eye-patches who say “ARRR!” The developers want us to like the Lords of Fortune, and to that end, they can’t do anything culturally insensitive – even fictional disrespect toward a made-up culture. This is doubly amusing because the Lords are represented by Isabela from Dragon Age II. The same Isabela that kicked off a war with the qunari by stealing their holy book, the Tome of Koslun. This irony goes unacknowledged by the game.4

When these rogue buccaneers aren’t busy giving land acknowledgments to displaced Dalish elves or whatever, they’re enjoying their nonviolent coliseum. Pirates revel in bloodsport, but only so long as no actual blood is spilled. The Lords refuse to fight prisoners or animals in their arena, as they find such acts too cruel. I guess they’re all big Peter Singer readers. Instead, they summon spirits to adopt the visages of common enemies so that the player can kill them with a clean conscience. It’s another example of wanting to have your cake and eat it too – they wanted to create a glory hunter/gladiator faction, but couldn’t stand the underlying implications of such. So they twisted and bent them to fit into their unproblematic paradigm, leaving the Lords flavorless and lame. They barely even contribute to the main story, and they’re practically the only look we get into Rivaini society (which remains criminally underdeveloped).

More tragic is the handling of the qunari, once one of the most unique and nuanced civilizations in the Dragon Age setting. The Qun, as portrayed in the first three installments, is a society that demands all of its composite parts work in harmony. Thus, they have predetermined vocations for their children, rigid gender roles, strict codes of conduct, and an ambition to “enlighten” the rest of the world. While the Qun has often been presented as antagonistic toward the heroes, the series has commonly balanced its portrayal by showing how seductive its absolutism can be for people without hope. In some cases, life under the Qun is preferable, as is the case with former Tevinter slaves. Conformity becomes comfort when the world is regularly threatening to split apart.

The Veilguard opts for a different approach. See, Rook’s not fighting members of the Qun in this game – they’re fighting the Antaam, the former qunari military. The Veilguard constantly reiterates that the Antaam, which makes up one of the three branches of the Qun, has broken off and decided to invade, pillage, and stoke chaos. BioWare didn’t want the questionable morality and complexity of fighting an invading people from a humanized, multi-faceted culture, so they removed their culture. Their efforts to turn the non-Western-coded qunari into something digestible for their mistaken conception of a modern audience instead results in two caricatures: one being a fetishized, perfect society where there are no perceivable social ills; and the other a bunch of rampaging brutes.

Contending with a realized conception of Plato’s Republic mixed with the Ottoman Empire makes for more compelling drama than a horde of murderous giants. Again, BioWare wanted to have it both ways, and they still needed nameless, faceless orcs to kill. So every bit about the qunari’s militancy, imperialism, and repression coexisting alongside some of their more progressive ideas and communal unity is stripped of its context and meaning. Blame is placed solely on the Antaam, who no longer represent (and retroactively, never represented) the Qun’s ideology. It’s a cowardly compromise, attempting to pin the blame of all the Qun’s failings on a renegade military and seeking to exonerate the political and social apparatuses of their culpability.

At one point, a minor character named Seer Rowan lectures to an ignorant human (a proxy for the audience absorbing these retcons) that qunari society has always been egalitarian in practice, with mages enjoying freedom there. Previous games showed that the qunari shackle their “saarebas” mages, stitch their mouths, cut out their tongues, and teach them to commit suicide if they ever stray from their masters. However, we’re now assured that this is only practiced under the Antaam, and No True Qunari would ever do such a thing. Ignore the fact that, in Inquisition, we witness the enslaved saarebas under the supervision of the Ben-Hasserath, a subdivision of the Ariqun (i.e. not part of the Antaam). In fact, the Antaam that Rook fights in The Veilguard never command saarebas at all. They’re completely absent from the game (likely because the image of the bound, mutilated minority was too much for The Veilguard’s sensibilities). Seer Rowan’s weak, conciliatory retcon can’t even justify itself in its own game. The scolding diatribe communicates an intrinsic misunderstanding of the Qun by the writers – namely, it continues the pattern established with the Antivan Crows that the mechanics of power in society are fundamentally good as long as aberrant forces aren’t in charge. While I understand the desire to be conscientious about the portrayal of fictional cultures that draw upon non-Western traditions and iconography (which have historically been demonized in media), glamorizing the Qun and stripping it of its realistic nuance does little to alleviate any problems with representation. If anything, it creates new ones.

But hey, now we have our faceless orcs to guiltlessly slaughter. That’s what the Antaam’s been reduced to, bereft of the ideology that made them people. We kill them because they’re strange and scary and foreign and seeking to destroy our cities for fun. They remain the most prominent representation of the qunari in-game, barring our party member Taash. BioWare’s attempts to reverse what they viewed as problematic components to the qunari instead devolved into the very tropes they wished to avoid.

Which leads us to the elves. Much of the series’s discourse has surrounded the portrayal of the long-suffering elven people, who endure slavery under Tevinter, expulsion from their homeland in the Dales, confinement in ghettos, and the general disdain from other races. The games’ stories use symbolic shorthand of real-life oppressed peoples to communicate these tragedies, and this has led to a variety of intense, emotional interpretations over the years. The unending misery of the systematically marginalized elves hasn’t gone unnoticed by the fanbase – and their criticisms haven’t gone unnoticed by the developers. To quote The Veilguard’s creative director, John Epler, in an interview with Polygon:

“Dragon Age has not always been the kindest to the Dalish [elves]. Somebody once made a joke to me, and it’s not untrue, that it’s possible to wipe out a Dalish clan in all three of the games in some way.”

He and others on the development team must’ve thought elves needed a break, because the omnipresent racism against them vanishes completely in The Veilguard. Tevinter, an empire built on the back of chattel slavery, doesn’t show any of that. Consequently, it feels like players in the know still haven’t seen the true face of Tevinter, despite spending half a game there. The notion that the capital of Minrathous gives now is one of a prosperous city that’s centuries ahead of the countries down south, rather than a cruel regime cracking the whip at every opportunity. Perhaps the writers weren’t comfortable portraying this, or felt that their audience might not be amenable to it after years of incendiary argumentation. Nevertheless, it castrates their established world-building and robs us of the opportunity to witness true elven liberation in the climax. With both the fall of Minrathous and the toppling of the tyrannical elven gods, we could have delivered a much needed catharsis after four games of oppression, but The Veilguard forgoes this storytelling opportunity to play it safe.

I worry that this hesitancy originated from anxieties about the sensitivity of depicting marginalized peoples in brutal, dehumanizing conditions, and how that might look to more fragile viewers. But I think it’s important for all players, watchers, and readers to know that, though there might be aspects shared between them, fictional minorities are distinct from real ones.

Dragon Age’s elves are aesthetically Celtic. Their residency in alienages evokes images of Disapora Jews in Europe. Their Long Walk after being driven from the Dales calls back to the Trail of Tears, sharing an experience with Native Americans. Their subsequent migratory nature is reminiscent of the Romani people. And their ancient empire of Arlathan, with its large columns and temples of worship, headed by ascended humanoid (for lack of a better term) deities that cast down an enemy called the Titans, and which has since had its religion and culture co-opted and renamed by Roman-inspired Tevinter invites comparisons to classical Greece.

My point is, the elves of Dragon Age don’t represent one group of people, because fictional cultures are constructs drawing from countless inspirations. If they represent anything beyond themselves, it’s the idea of a proud people that’s fallen under the yoke of conquering powers – a supervictim to embody all. The idea that one must be limited in their storytelling options based on how the portrayal might reflect upon or disrespect an existing culture is flawed, in my opinion. In the overwhelming majority of cases, coding cannot be read as a 1:1 allegory, especially in speculative fiction like science-fiction and fantasy. I believe the most mature way to evaluate a story isn’t to try to pigeonhole what it’s trying to say say about who, as if there’s some insidious encrypted message in the text. Rather, it’s to see the forest through the trees and interpret the work as a complete whole in itself.

On that basis, I ask: would it have been so bad to see some of those enslaved elves, praying for salvation, side with their manipulative, nefarious gods? To add some nuance to the conflict with Elgar’nan and Ghilan’nain, would the story of elven liberation not have been better if the game actually engaged with it? Could we actually have a moral quandary with those whom Rook ends up fighting, even if the content might be seemingly problematic?

Epler might respond in the negative, per the Polygon interview, claiming that the gods “simply don’t care” about the elves.

“Those blighted, decrepit gods, they’re not bothering with the soft pitch. Their pitch is, We’re going to make a horrible world. We’re going to give you a lot of power, and maybe you’ll be OK.”

Like a chess board, the core conflict of The Veilguard is black and white. BioWare abandoned the chance to make Elgar’nan and Ghilan’nain more interesting villains because it was too risky.

Similarly risky was Solas’s role as an antagonist, since his motivations, as explained in “Trespasser”, are deeply sympathetic. Perhaps too much so for the developers’ comfort. Unlike the Evanuris and their disinterest in the elves, Solas wants to restore the elven people to their former glory. At least, that seemed to be his pitch in the last game. Frustratingly absent from The Veilguard are the Agents of Fen’Harel – elves who swore fealty to Solas’s cause. They infiltrated and compromised the Inquisition, effectively precipitating the final decision to end the organization in its current form. The idea that Solas had amassed an army of common folk who found the idea of a renewed elven empire appealing made him appear formidable and intimidating. “Trespasser” implies that a mass uprising of elves under Solas’s leadership was imminent, and anyone could be in on it.

None of this happens in The Veilguard. Not only does Solas lack an army, but their absence isn’t explained or even acknowledged. As a result, Solas remains a passive antagonist until near the end, since the player has no disciples of his to contend with (either physically or ideologically) along the way. It wastes a side of his character that had been foreshadowed in a decade-long cliffhanger – that of a charismatic leader, capable of coordinating a rebellion that could spell disaster for its own followers.

In a Reddit AMA after the latest game’s release, Epler answered where the Agents of Fen’Harel disappeared to:

“Solas’ experience leading the rebellion against the Evanuris turned him against the idea of being a leader. You see it in the memories – the entire experience of being in charge ate at him and, ultimately, convinced him he needed to do this on his own. And his own motivations were very different from the motivations of those who wanted to follow him – he had no real regard for their lives or their goals. So at some point between Trespasser and DATV, he severed that connection with his ‘followers’ and went back to being a lone wolf. There are Dalish clans who are sympathetic to his goals, but even there, there’s an understanding that he’s too dangerous to have a more formal connection with, and that he will, ultimately, sacrifice them to his own ends if necessary.”

I find this explanation unsatisfying, not the least bit because the narrative offers next to nothing to imply this. The disappearance of Solas’s agents represents my biggest bugbear with the game, depriving it of the full potential of its highly anticipated antagonist in favor of the more generically villainous Evanuris. Moreover, this omission fits into the aggravating blueprint for The Veilguard’s inoffensive direction. The motivations, emotions, and backgrounds of the Agents of Fen’Harel would be sympathetic, and therefore might problematize the otherwise cut-and-dry conflicts. Epler seemed concerned that audiences might think Solas was “a little too sympathetic in his goals,” according to an interview with GamesRadar+.

But that’s the thing: sympathy isn’t endorsement, and portrayal of sympathetic characters isn’t endorsement either. But neither does that invalidate the emotions and experiences that generate that sympathy, even if the character’s actions ultimately turn toward evil. I’ve noticed a trend (especially in symptomatic criticism, which I generally dislike5) to view art as propaganda, and to evaluate it from a moralizing, top-down perspective. Antagonists with complex or understandable motivations (in this case, revolutionary villains) are often judged by this framework as tools for stories wishing to champion the status quo. Common arguments that I’ve seen imply that the relatability that we often find in villains is not a strength of the writing, but a devilish trick of ideology by which writers can reinforce conservative doctrine, to scold us away from certain beliefs. Any decent writer knows this isn’t the case, and that people don’t write morally or emotionally complex antagonists for didactic purposes. Instead, characters such as these embody the anxieties of their creators – the fear of losing yourself to your passions, the fear of going about things the wrong way, the fear of sacrificing too much to achieve your desired ends. The concepts and feelings that compel these characters remain authentic to the writer’s heart and the connection they established with the audience.

Art isn’t propaganda. To read it as such reduces it and promotes intellectual dishonesty and foolhardy myopia. Stories are irreducible (otherwise, we would not waste our time with them), and so I believe interpretations should be formed from the bottom-up, rooted in the text as much as possible. The “message” cannot be imposed from the top-down, but symptomatic readings, in their focus on tropes and cultural context, frequently condemn without a trial. Hindering your story in order to future-proof it for the sake of optics is a safeguard against this, and one that leads to bad stories. Artists should have confidence that their text will hold its ground on its own. To quote Ursula K. Le Guin’s essay “A Message about Messages”:

“The complex meanings of a serious story or novel can be understood only by participation in the language of the story itself. To translate them into a message or reduce them to a sermon distorts, betrays, and destroys them… Any reduction of that language into intellectual messages is radically, destructively incomplete.” (67-68)

BioWare’s doctrine of passive writing violates this wisdom by surrendering to their fear of (bad) criticism. The Veilguard lacks punch, stakes, and empathy and becomes incongruous with its established lore because it’s not willing to take risks that might alienate or upset players. They’re more concerned with making sure their work is inoffensive than they are with conveying a moving story.

I believe all of this was inherited from an incestuous feedback loop between a vocal minority of critics, of which I might’ve once counted myself among the blameworthy, and the apprehensiveness of out-of-touch corporate board room decision-making. Dragon Age’s genome mutated, and it slowly lost its teeth.

Over the course of a decade, we bred the Dread Wolf into a Dread Pug.

V. What It Took

The Veilguard’s lack of confidence in itself and lack of faith in its audience contribute to its capitulatory nature. In many respects, it feels like the developers lost their passion for it over the course of the ten year hellish production and just wanted to be done with it. This resulted in a decent game that nonetheless feels divorced from what came before it. It tries to juggle being a soft reboot while also trying to close out the series’s biggest and longest running story arcs, but inevitably fumbles.

Nearly everything done by The Veilguard was handled better by Inquisition. And Inquisition was certainly the more ambitious title. Perhaps more returning characters would have established a sense of continuity between the two, or at least made it less awkward by having them present for the story’s grand finale. For as strong as the endgame is, it could’ve benefited from the presence of slave liberator Fenris, elven history aficionado Merrill, possible Evanuris soul vessel Sera, or Divine Victoria (any of them). The core pillar of Dragon Age is the characters, and The Veilguard’s under-performance (and in some cases, outright dismissal) in that regard sabotages its integrity. Without this to anchor it, the changes to gameplay, visuals, and roleplaying depth become more alienating.

Personally, what do I take away from this? The Veilguard is far from the game I dreamed about for ten years, and not the one that loyal fans deserved either. I’m no stranger to disappointment at this point in my life, and yet this still leaves me with a hollow feeling. Will I still be able to return to Inquisition, a game I truly adore, and see it the same way as before, knowing now where all this is leading? The true cost of The Veilguard, for me, has nothing to do with the price tag: it’s the loss of that perfectly tailored dream, now that the possibilities of the future have shut their gates.

Where do those dreams go? Are they doomed to fester in their lonely, incommunicable agony? Will they be twisted by their enmity, like the blighted dreams of the Titans, and spread their corruption into those important happy memories?

In 2014, I was depressed as fuck, and Dragon Age: Inquisition helped me to see the light and come out of it. In 2024, I was depressed as fuck, and Dragon Age: The Veilguard made me feel nothing. There’s no less favorable comparison in my eyes. It’s disheartening to behold something that once meant so much to me and be greeted with numbness. I have to wonder if that affection will ever return, or if I’ve just grown out of it.

But as I wandered the streets of Minrathous as Rook, I heard a familiar song. It was one of the tavern songs from Inquisition, its nostalgic chords filling me with wistful sentiment. I know, deep down, there’s still something there. Maybe I just need to dig it up. Maybe it’s time to look back…

To be continued…

– Hunter Galbraith

Further Reading

Le Guin, Ursula K. “A Message about Messages.” Wonderbook: The Illustrated Guide to Creating Imaginative Fiction, Abrams Image, 2018, pp. 67–68.

Incidentally, this was an anomaly my friends and I pondered over and eventually solved. It turned out to be a former Wienerschnitzel. ↩︎

You could argue that this credit goes more to Inquisition and the previous games for laying the groundwork for said reveals, which were obviously planned out ahead of time, as confirmed by the aforementioned official artbook. Regardless, the payoff satisfied me and gave me proper closure. ↩︎

I’ve been informed that there is a hidden conversation that explains that the Lords of Fortune do, in fact, sell cultural artifacts at times, but only to the rightful owners. This just makes me wonder what they do with the artifacts if the prospective clients can’t pay. Do they shove them back in the ruins and re-arm all the booby traps? ↩︎

I would argue that this does not represent character progression on Isabela’s part, as her (possible, depending on the player’s choices) return of the Tome of Koslun in Dragon Age II was a pragmatic sacrifice she made to save her friends and the city, rather than an acknowledgment of the qunari’s inviolable ownership. In fact, in many continuities, she never returns the Tome at all. ↩︎

I prefer more formalist criticism because it allows the text to lead the dance, not the critique. I think it’s only fair, given that the creators likely spent more effort crafting the piece than I spent consuming it. Symptomatic criticism mandates that the reader consider everything around the text, typically at the text’s expense. In the worst cases, symptomatic critics make their arguments about seemingly everything besides the text in question. ↩︎ Link to article: https://planckstorytime.wordpress.com/2025/01/01/dragon-age-the-veilguard-strangled-by-gentle-hands/

[sali0512]

Hello, you are probably tired of the nutcracker, but this is the pre-final and the DTIYS competition

I know that we have one more picture left, but if you look at it logically, it is better to post it later than this one

Especially since December is over and I have been trying to put my thoughts in order all week, as I wanted to consolidate this event for myself with a good mood, and for you of course 🩷 With this competition I am celebrating 2500 subscribers on Instagram, which I have been working towards for a very long time

So, thank you very much for being with me, this is the first post in 2025 and gratitude for all the achievements in the past.

I am even embarrassed to realize all this. But you are probably more interested in learning about the conditions.

Basic rules: Draw this art in your style, I deliberately chose a less dynamic pose and a simple background, without complex angles and profiles, so that you would not scold me. But of course, if you want to add more movement, then I and everyone else will be happy to look at your work. The main thing is not to lose the idea, characters and atmosphere, for me this is fundamental and will be taken into account.

Prizes:

1st place - full-length art

2nd place - waist-length art

3rd place - shoulder-length art

There will also be an ✨Audience Choice Award✨ according to other good guys)))

Don't forget to tag me here, on Instagram or Tumblr. #Saliart2500

As you like.

Good luck to everyone and I hope you enjoy the process 💓💓💓

Deadline until March 1 :)

[mysaldate]

Doesn't that sort of make sense though? Why would the characters make a big deal out of it if it's normal for them? It's kind of an issue I have with a lot of fantasy series, the characters are all from this world where magic exists but they have to act surprised and clueless about it for the audience's sake? That has always felt cheap and kinda lazy to me. Yes, act like it's normal because it is normal for you. Don't make a big deal out of it and let us figure it out. Yes, you run a risk of a lot of fandom glossing over it but imo, it's much better than breaking character just to coddle your audience.

On your age point... no, that doesn't really work. The game is originally a joseimuke, meaning for working-class women. Just because Aniplex and Disney US decided to dumb everything down for the English release doesn't mean teenagers are suddenly the intended audience. The characters are those ages because that's a popular trope and that's it, they might be 30 or 50 and they wouldn't change because the age label on fictional characters is arbitrary as they are not real. Yes, Disney JP still keeps certain things censored/safe but far less than whatever is going on in the EN release. In a similar vein, the whole "respect women juice" thing was added in the EN release while in JP, it was left at the fact that women are intimidating and more physically imposing which led to Leona and Ruggie trying to appease them even outside of their own culture (we wouldn't exactly call that respect, now would we? We don't say women irl respect men when they go out of their way to appease them because they are physically stronger).

This isn't about whether or not Jack has a knot lol. This is about how many features the characters do have that the fandom just explains away or even straight-up ignores. And it gets worse when it comes to cultures. The hyenas are mistreated in Sunset Savannah because they have a bad reputation (yes, it is a part of what happened with Scar but also for biological reasons) which then leads to them having to scavenge for food and use trickery which furthers the stereotypes even more. Leona's palace guards are all women because lionesses are usually the ones guarding a pride. Leona does roar or growl in the story on multiple occasions (and a roar is even one of his battle lines iirc).

Malleus was literally born from an egg, that's a pretty big thing imo, people even like this, they just don't like thinking about what that might mean for Meleanor. Also, dragon fae only being able to conceive with their true love? That's a pretty huge difference. The fae in general communicating by hisses and chittering noises? Yes, it's a language for them but at the same time, that's a pretty non-human thing to do. And despite Lilia adopting Silver, he never taught him the language so there's a question of whether full-blooded humans can even learn it.

I agree with you that this is a prevalent problem in media, I just don't think twst is as devoid of it as you seem to suggest. Yes, fandom is always there to explore things more and push them to their logical limits and conclusions but, again, I think twst gives us a ton to build off of. It makes sense to me that they don't make a big deal of it, much like they just off-handedly mention other parts of their world that are normal to them but alien to us, simply because it's no big deal or it is common knowledge for them ("By the Seven!" is an easy one. Nobody feels the need to explain it but we all know why that is, another example would include Mozus' off-hand mention of the discrimination against beastmen in the past, and obvsl there are more all over the place).

Anyway, this got long, sorry. I like discussing this sort of thing even if we don't come to an agreement. Personally, I like the way twst does it but I do get why people might want more obvious explanations and followups on things in way that are harder to disregard.

I need. Twisted Beastmen and the like. To be more animalistic. Not necessarily like, physically, I don't meant that in the furry sense. I mean that in the 'they're part animal and it'd not just for show' sense.

I want beastmen with claw like nails. Where the cat-like ones tend to walk on their toes when not wearing shoes because it feels right. Where their eyes and pupils reflect the animals that they're partly of. With fangs and teeth appropriate for their species.

Ruggie making laughing noises at the active prospect of food. Whooping when in a fight and needing backup. Lowing when excited for a fight.

Leona roaring to get the whole dorm's attention. Chuffing in greeting at people he considers part of his pride. (He'll sometimes grunt at Cheka like a mother would to her cubs but will deny it.)

Jack barking at danger to warn others and howling to try and figure out where his pack is (he forgets they can't howl back, but Ruggie will sometimes low at him and Yuu definitely tries to howl back.)

I want to see Azul with the tips of his limbs in human form retain some of his octopus natural ability to camouflage. I want to see his hands always moving, grabbing something, holding something. Azul who might not have bones in human form with how flexible he is??

The tweels who aren't very active naturally during the day but get really hyperactive at night. Who bare their teeth at people when excited.

Che'nya who lounges in the sun on lazy days. Who's great at stretching and popping everywhere in his body if he needs to, to a concerning degree.

GIMME FEY WHO DONT ACT HUMAN

Malleus who snorts smoke when he's angry. Malleus who wear gloves because he got claws. Malleus who has a tail and wings outside of his dragon form sometimes.

Lilia who gets just a bit too excited at the prospect of a fight and spilling blood. Who can recognize a person by the smell of their blood. Who makes inhuman noises when too excited and gives off a very eldritch horror kind of vibe if he lets loose.

Sebek who can be found eating rocks sometimes. Who finds quiet in thunder and lightning. Who can move so smoothly and silently you don't know he's there until he opens his maw. Who has a lot of really sharp teeth for someone with a human mouth.

Just- gimme some animal, like, REALISM. PLEASE.