#and THEN i learn that they also did these specific things that are so in line with my favourite aesthetics / styles in art etc

[rogueemmy]

There is a general lack of understanding of how computers work - one that tips strongly towards ignorance at each end of the age scale. Not phones or tablets and the like, but a "desktop" or laptop computer. This is not an attack on older or younger people, but it is a fact - one which makes people MORE dependent of easily manipulated data sources.

I've watched the rise and fall of computer literacy. In older people it is understandable to a certain extent. When the personal computer became common place, it was the playground of children, a time waster for teens, and a select few people used computers at work. Even as those numbers grew, most people who were adults in the mid-90s and beyond only needed a computer for specific tasks they were trained for. Thousands of blue collar jobs either did not use computers at all, or used them only as an interface to select between functions.

I did, in fact, learn computers in school. To a certain extent. They were still becoming common-place, so I had courses in high school and college - both times. I learned from other people, we learned as computers developed - and we filled in the gaps because people needed to know this to be employable.

My child, however, did not. Sure, she had computer lab as early as preschool, and I thought she was learning what I did. But no. She learned programs, she learned how to be comfortable with a computer, but they did not teach about where to save files, how a computer works, what all the numbers and letters mean. She, and her young cousins, can run a phone or tablet like a Mozart on a piano. But a computer?

I've trained many first-real-job-out-of-college kids young adults, and the school systems (and parents) have failed them. They do not know what a file is, where a drive is, how to navigate without an app to click. They don't know where their files they save go, they have no understanding of how full a hard drive may be, and they don't know why the computer stops working.

While I'm at it, they also have zero experience with desk phones. A dial tone is not a thing they've encountered. Hold buttons, transfers, and voice mail. These are things that MUST be taught, now, at the workplace level, because they are not learning them before they come.

So it's little wonder that the computer world is dumbing down what they are selling. They are simply trying to market to the knowledge level. There's so much being lost! If you are a parent, please, take the time to teach your kids these things. If you are under 30, please ask someone to teach you, take a class, do online tutorials! This "simple" knowledge will skyrocket you past your peers in the workplace.

not to enforce gender roles but a computer should NOT fucking have apps okay. if I wanted an app I'd go on my phone my laptop is for Programs. I mean this.

[the-artist-grimm]

Im sorry if you already answered something similar but does the twins ever reunite with Forneus in your au? If so how does it exactly work out, does Narinder, Anthea, and Forneus share custody?

Crimson Angel AU - The Situation between Forneus and the Twins

(Anon, @gerroacarnival  and @xquaserh Putting all these asks in 1 cause oh boy this is a COMPLICATED question to answer oof. I wanna preface this that while I love Forneus just going by the characters personalities/themes of this AU the reunion is not as fairy-tale happy as it is in game)

Anyway-the boys do reunite with her technically, but not in the way Forneus dreamt. Reunions are good in theory, the long lost children reunite with their ‘real’ family, hug their mother, go ‘home’ with her, start life anew, but life isn’t so simple, now is it? It’s never that easy, not when one side clings to the memory of three day old infants and a reunion she'd dreamt of for so long it just became her expectation, and the other side has no memory and complex feelings on the whole matter with this slight feeling that perhaps while their mother loves the idea of them, she doesn't actually love them.

It's messy, complicated, and no matter what, will NEVER be the reunion Forneus wanted. The second they left her embrace, she lost the chance to be the mother she'd wanted to be for them, yet never realize till too late what else died with them.

(Putting this under the cut cause it's longgggg. The Twins and Forneus's story has so little in-game text that it's become this favorite thing of mine to interpret/expand)

The Two Parents

Forneus did and didn’t have a choice to give the boys up. When Shamura appeared, the newborn, extremely premature kits were already doomed to die, so the choice to either let them pass naturally or to allow War to take them as gifts with a potential of reunion was an either damned if she did or damned if she didn’t, situation. And in her grief and desperation, she chose the option that gave the potential for hope. She gave the twins to Shamura, accepted the golden skull, and waited. Waited for her babies to come home, waited as a mother who never really ever had a chance to be a mother-one who works off feelings but no experience. 

Meanwhile when it came to Aym and Baal, Narinder never told them who their parent(s) were. How could he, when he himself had no certainty as to who they were? Though his 7th Vessel, Forneus, had left service specifically because of pregnancy, he had no means of tracking how much time had passed since when they first arrived (it could've been a century since for all he knew), nor any means to confirm without doubt that the black, newborn kittens were hers even once his next vessel gave him the date-he couldn't ask them to investigate something so personal and unrelated to their cause.

Their box held only their bodies, a spider-silk cloth which was their burial shroud, and a note penned in Shamura’s hand. ‘A Gift’ that’s all the note said. No names, no clues, no nothing. While Narinder had suspicions, he could not in good conscious tell the boys of a potential mother out of risk of being wrong-of getting their hopes up for a heroic parent only to be proved that it wasn’t her, or worse, told heroic tales just to learn they were abandoned all along. Vessel 7 was heroic yes, had a sense of justice yes, but during her service her luck had made her grow arrogant, had transformed flirting into a game of hearts and people into a way to get the upper hand-for all he knew, if they were hers, they could've all along been her means of trying to easily get out of vesselship. He just didn't know.

And thus Narinder raised them from there. He tried to use the title of ‘Master’ as a barrier in hopes that, if they did have a family awaiting them, he wouldn't take their place, (it was also out of guilt for being the reason they were trapped) but he also couldn't bring himself to fully shut them out either. The moment their dead bodies healed in the gate and they started to mewl for attention his unbeating heart bled for them, and he just couldn't deny them love because he knew how much it hurt to be without.

The Twins

As centuries passed Aym and Baal were content with Narinder as their 'Master'. He who told them stories of his time above, who taught them how to fight, who fashioned them clothes from whatever scraps of cloth he would get vessels to send-he was all they had and knew. When they felt the time to sleep it was in his paws they curled up, when they got hurt training or got bored it was from he they received comfort and attention. It was his magic which allowed them to age against the Gateway's stasis, it was he who saw their eyes open, watched as they learned to speak and walk.

But that’s not to say neither did think of whoever was left behind from time to time. Baal tried to keep hope that he and his brother were taken-stolen by the Bishops, with whatever parents they’d had having desperately tried to keep War away. Aym, meanwhile, only felt anger, bitterness and resentment, for who lets two three day old kits be taken and sacrificed? Narinder himself simply tried to keep neutral on the subject, not wanting to feed into either side in hopes that'd avoid a heartbreak or the smooth transition to their 'real' kin.

The Lamb

When the Lamb appears and starts to befriend them, it's then the boys suddenly find themselves feeling the same sense of security and comfort Narinder gives them towards Anthea. As the lamb brings them toys and books catered to their interests, teaches them to read, uses the crown to show them the world above and encourage their boundless curiosities. As nights suddenly see the lamb visit in their nightgown book and quilt in hand, letting the twins snuggle into their sides as the three are cradled against Narinder's chest while reading a book, and the boys fall asleep to a heartbeat for the first time. Narinder had always been stability and security, Anthea became tenderness and warmth.

Anthea teaches them what a 'Father' is as well, and the boys realize that's what their master actually is-he's their dad and tentatively start testing calling him as such, and while it's not until just before Silk Cradle they realize it (yet don't call them Baba yet) Anthea's long on their way to feeling like a parent too.

Which then begs the question…what of the parent(s) left behind?

First Contact

Baal still wants to meet them, he's always been curious and just wants to know who they are, while Aym is still angry and wants nothing to do with them. They got a parent in their master, and Anthea's their friend and practically a parent too, so why bother with the ones who abandoned them? Narinder overhears the boys debate over it more and more, and as Anchordeep’s door opens, Narinder hesitantly asks the Lamb for a favor.

He’d heard rumors of a shopkeep she-cat who wore a golden skull, and Anthea had been the first to confirm that cat's name was Forneus. He’d never asked a vessel to do such a thing before, mainly out of not feeling close enough to ever ask such a personal, unrelated to the Bishops, task, but he wants to give the boys closure, and Anthea would happily do anything to help the kits. And thus they're sent out, and in a bit of a side quest work their way to getting Forneus to sit down and just...talk.

She explains her side of what happened, how the boys were born too soon, how she had really no choice, breaks down, and as the cats had been listening in and Aym who's now uncertain feels bad, and he requests Narinder for permission to speak.

“Save your tears for when we meet” is what he says, and that’s all that’s said through the crown.

For Aym it’s an olive branch-he’s sorta gotten an answer as to why he and his brother were sacrificed, though he's not entirely sure how to feel since well...she still gave them up, but she looks sorry so... Baal's eager and happy to hear that they were cared about but is a little disappointed at realizing that she didn't really hesitate despite the situation, but regardless, both are willing to give her a chance. They want to get to know her, and then they'll decide how they feel after that.

They, do not, see her as a proper 'Mother'. Just someone who shares their blood who they want to meet. To then Narinder's still Dad-he's still the one who makes them feel secure.

Meanwhile for Forneus it’s proof that she’ll get what was promised. Her boys are not only alive, but they’re children-they’re still children, so she'll now get what she wanted and more. They'll reunite and she'll then take her children home to travel by her side-she’ll get to raise her dear little babies just as she’d planned, and while it took so long it's going to be perfect.

She's dreamt of the boys seeing and running into her oncoming embrace crying. That they'll love her instantly and had already because she's their mother so of course that's how they'll feel. How could they not? Children ALWAYS love their parents.

The Lamb promises to help her meet them once they’re free, and every visit after, Forneus tries to get the boys to talk again-offers gifts for the lamb to bring to the Gateway, rambles on about all the things they'll do together while the Lamb browses her shop. And...well they're things, at least. Most of the toys she offers are either baby toys or things that just don't interest the boys, and some of her plans are...plans. They're elaborate-taking them to X mountain, to X landmark, traveling here and there and everywhere. Big and grand and...and never mentioning their Dad or Anthea being there.

Baal thinks it's sweet how excited she is while Aym is getting more and more unsure-but even Baal eventually admits that she's a little...loud. Forneus is loud-she's energetic and eager and while he and Aym can be too, seeing it from a stranger about them is...weird. She keeps calling herself their Mama , and calling them Zamir and Delshad despite being told otherwise because apparently those were their names (a fact not even Shamura had been given. Narinder had to name the boys himself). She keeps talking about those three days they were with her, and it kinda feels like she loves the babies she gave up and not them.

Anthea tries to tell her about them, but she usually doesn't realzie since she's busy talking to her babies and not them, it's as if the lamb isn't even there. The boys can't even try to think of trying to talk-she never leaves an opening for them to try. Eventually the boys ask Narinder to mute the crown during the Lamb's shop visits the more uncomfortable it gets.

It's like going to a family reunion and being brought to your great Aunt who last saw you as an infant at your christening. She insists on kissing your face and hugging you tight and going oh how big you've grown sweetiepie and this and that and...and you put up with it because she's family but...well she's a stranger despite the shared blood. She doesn't actually know the you of now-and you don't know her.

Reunion

When the final Bishop falls is when Forneus suddenly finds herself left in the dark. For 6 months she sees hide nor hair of the Lamb, and gradually gets worried because where are her sons? The Bishops are dead, why hasn't she been given back her babies?

(The Lamb had been avoiding her cart during crusades out of both grief and guilt-Aym's dying word of calling them 'Baba'...it broke something in them, made them realize just how much the boys had meant. They had a shattered heart and endless guilt, and having to face Forneus and explain she'd never meet her sons? It'd been too much as a grieving parent themself)

The twins were revived after 4 months but Anthea only finally approached Forneus after 6, and she was too relived to finally hear she could meet them to bother asking what'd happened. Anthea invited her to come to the cult that weekend, and Forneus happily accepted, not even noticing the tiredness in the Lamb's eyes nor the uncertainty in their tone. Even on the day she arrived at the cult, she didn't mind the lamb, not even as Anthea gave her a final warning.  

"There was trouble setting them free…they’re wary, skittish, they’ve been through a lot... I know you’re excited but please be gentle when you speak to them, be calm and keep your distance please they’re so easy to startle."  

Meanwhile the boys waited at the temple with Narinder, who, for the hundredth time, asked if they were certain they were ready for this. Though it'd been 2 months, the toll of dying so traumatically via turning to ash, of being trapped in the gateway, the trauma of resurrection, the fear of being alone without their parents because that's what he and Anthea were to them, Narinder had wanted them to wait as did Anthea. The boys could hardly sleep without at least one of them there with them in bed, were just starting to be ok interacting with other people, could only handle the touch of a select few and even then sometimes would just break down into panic attacks out of seemingly nowhere. They weren't ok, but the boys had insisted. This woman who claimed to love them had been kept in the dark for so long, they felt bad and wanted to try.

They felt guilty for not being ok. Even as Narinder and Anthea repeatedly and gently reminded them that it was alright-that their feelings were valid, that they could take all the time they needed and they'd be right there to support them, the boys had insisted and they just couldn't deny them their choice.

But once Forneus arrived no one got the chance to even properly introduce the boys to her-she just saw them, ran towards them for the reunion she dreamt up, swept them into her arms, and next thing she knew she had two yowling, struggling kits trying to break from her hold. In her excitement and in not listening to Anthea's warnings she'd done the worst thing anyone could've done-she was louder, bigger, stronger, scarier than them, and as the kids managed to shock her into dropping them suddenly Baal was hyperventilating, and Aym was working himself into a panic attack. And Narinder and Anthea, having two months practice in calming them like this, and having long been the twin's safe people, immediately fell into place. Narinder got Baal, Anthea got Aym, and Forneus could only watch.

Could only watch as Baal started gasping for Dad as Narinder tried to get him to breathe, as Aym started sobbing for Baba and practically tried to bury himself in their embrace, as her babies looked at her in fear and clung to someone else.

And then all she can feel is anger. She'd waited 300 years-those boys were hers. Why are they clinging to someone else?

From there it just becomes a mess, she gets into a very loud, very heated argument with Narinder especially for 'stealing' her sons which just scares the boys more, and in a very poor move tries to just grab one of them which prompts Anthea to use a show of godly power and threaten her to get out of the Cult which she does since a crowd has also formed (the Cult was ALL aware of the twin's poor mental state, and they'd all grown very protective of the community's first children despite having to keep their distance because by gods those kids deserved more than what fate had given them).

Forneus leaves angry, and Narinder and Anthea now got two kits who had been tentatively healing temporarily back at square one, and who are now gonna start having nightmares of a stranger taking them away on top of preexisting ones.

I wanna note that Forneus isn't a bad person. She isn't, but she's also not used to things not going her way. As a vessel she was 'Lady Luck', she who rarely died, who always had the upper hand, who would pop curse shots at the Goddess of Famine for fun and be the heartbreaker of her own cult able to flirt and tease and talk her way to whatever she wished. She's kind and cheerful and charismatic sure and she genuinely does want to help people and do the right thing, but there's still this...ignorance, arrogance-that she doesn't even realize is there.

Like how above in Starfall Part 1 she VERY casually mentions how she 'knows what it's like missing her own twins' and 'how 'hard' it must be for Anthea to have nothing of their family to remember them by', but the thing is...she doesn't know. She's so hooked on this idea that she WILL get her boys back that she completely has just ignored the grief that comes with loss entirely this whole time. The way she misses her sons is NOTHING like how Anthea misses their brothers-she misses them like a relative you haven't seen in awhile but will see soon. Anthea misses their brothers because they're DEAD and they know that they will NEVER see the two again, especially now. Like Forneus has not considered how she's lost a LOT of moments with her children. They're still kids yeah but they're not returning to her as blank slates-though physically and mentally 11 they've been with Narinder for over 300 years, that's a lot of time to be without her. She loves them, but kinda more-so the sons she thought she'd get back.

Thus when you've been envisioning this 'perfect' reunion the entire time only for it to not go your way...it's a hard pill to swallow. She gets disappointed/angry understandably-anyone would, but instead of stepping back and realizing she can't fault the boy's feelings she takes it out of the ones who 'took' her place instead, which then turns her into this loud scary bad-guy to the boys.

And Aym and Baal aren't to blame in this situation, like they're kids, and like with my 'great aunt who last saw you as a baby' analogy, it's not their fault they don't immediately love her. She's a stranger-one whom, the more she tried to force interactions via the crown during their imprisonment, seemed to have little interest in them personally and more in whatever children she assumed she'd be getting back. And after that disaster of a first meeting? They don't want anything to do with her she scared them that much.

As for Narinder and Anthea they both feel awful because they understand why Forneus is angry, she only gave them up because she was promised a chance for reunion (though she ignored the CHANCE part of that), but in the same breath Aym and Baal are their sons and they'll take their side first over anyone else's. And the thing is there's nothing that could've been done on their part to prevent this really either.

Anthea telling Forneus the twins had died? Anger, grief, then upon their revival a fierce insistence for the boys to NEVER go near the Lamb or Narinder again, which the twins would've been just as terrified and against.

Narinder not showing care to the kits for those 300 years? They would've gotten attached to him anyway since he was literally all they had, though they might've turned out worse emotionally because of neglect

Telling the boys to wait longer to meet Forneus? She likely would've just shown up on her own within another month anyway since by that point Anthea had just freed Heket from Purgatory and word was starting to get around about the new God of Death so this would've happened but worse.

The only way Forneus could've had the reunion she'd wanted would have been if Narinder never forced the twins to start aging against the stasis. But then there would be two 300+ year old infants, which is a whole other can of worms.

Notes/Explaination

Again I love Forneus in-game she's so adorable and my one of my favorite NPCs to visit, but I also like making imperfect characters, especially parents and their relationships with their children. And while I love the idea of her being this wonderful, sweet, amazing mother, I also like the idea of her being really flawed about it to.

Crimson Angel is about learning to communicate with your loved ones, and in this case, it needs to be her looking at things from the twins view and realizing that if they don't want her in their lives, she has to accept that. She needs to realize that she's not entitled to their love just because she gave birth to them. She also has to let go of the sons she gave up that day-those three day old infants who were perfect little blank slates, and get to know the boys they became without her. She has to realize someone else took her place in their hearts, and realize that if she wants to join them, she HAS to let the boys come to her, and that she has to work on THEIR terms.

She cannot try and force a love if she wants a chance for it at all, and must swallow her pride and listen to others who know the boys better-Anthea and Narinder, alongside the boys themselves.

She'll get a relationship with the boys eventually, but it's not going to be the one she hoped for. She's gotta work on herself first and realize her flaws, maybe get some practice with handling children via unintentionally adopting a certain fan-favorite grave spider kid after finding him all alone, and just...wait. Narinder and Anthea are the twin's primary parents, and while Forneus does eventually get to a place where they're comfortable with her, it's never going to be on the same level, and they all just gotta contend with that.

Boarders are by @/lambouillet

[nadas-dirthalen]

A Veilguard Achievement Icon Opened My Eyes on 15 Years of Lore... but Was I Right?

PART TWO: What Veilguard Did Narratively, and What That Tells Us Going Forward

[ 1 ]

Hello again, friends and travellers. Now that I've beaten Dragon Age: the Veilguard, I wanted to go through all those 30,000 words of predictions that I wrote in the ~11 days leading up to its release. I'd seen an achievement icon that pieced together a lot of Dragon Age lore for me.

But, I hadn't played Veilguard. All I had was the footage from September 19, the achievement list, and anything else BioWare had released.

So... was I right? And if so, how much was I right about?

This is your warning:This post will contain spoilers for the entirety of Dragon Age: the Veilguard, and all Dragon Age content made before Veilguard.

(my davrinmance is going great as i try and collect every codex, thanks for asking!)

Today's Discussion: to Understand Dragon Age, We Must Understand Its Writing.

Before I can go any further on why I think the way that I think, or why I imagine the story might take us in certain directions, it's essential that you all understand where I'm coming from. Veilguard, like any game, is a piece of art. Its bones are built with similar narrative structures to novels (though not identical, and that's important!). To make sense of what's to come, we must examine Veilguard's bones the same way.

I've seen a lot of people wondering why, for instance, the Inquisitor is not Veilguard's protagonist. I've seen people lamenting the fact that there were not on-screen clarifications of popular lore theories. Before this series goes any further, I need to say my piece about why I believe that it was essential that Veilguard was written as it was, and why its writing does in fact help us better predict Dragon Age's path forward moreso than even Inquisition.

That said, today I hope to cover:

What Veilguard Demanded of BioWare's Writing Team, and Why

The Protagonist: Why Rook's Perspective Matters

The 3 Act Structure: Our Lens

The Companions: Paths to Our Answers — and Future Games

What Veilguard Demanded of BioWare's Writing Team, and Why

Let's get this out of the way right away: it has been 10 years since Inquisition. And, like it or not, that means one gigantic thing for BioWare: if they wanted to have any hope of making more Dragon Age, they needed to bring in new players and resuscitate the interest of many old players who did not stay in the fandom the whole time. They didn't—and couldn't—write Veilguard specifically for you or I, people of Tumblr. If they did, it would've pleased us... and then cost them so much money that we'd never get any more Dragon Age.

That doesn't just mean modernizing the game's aesthetics, or providing a glossary in its Codex. It means they would have to balance all of the following (just at a glance):

Managing the learning curve in general. Not even I looked in the glossary as I played. Me, supreme enjoyer of all codices ever. It's just not something most players are ever going to do, as much as it the lore is such a fundamental part of the game in general. That means simplifying terms where possible — elven gods in place of Evanuris, for example — but also trimming down what would have to necessarily reference past games. Only a tiny fraction of the fanbase has played Inquisition in the last 3 years, nevermind this year.

Recontextualizing the lore. That does not mean rebooting it, it means situating all we have learned so far in a framework that fits all we have learned so far. Much of what we learned about the Evanuris seemed, for so long, to be totally separate for the things we knew about the blight and Blights. Veilguard needed to show us how those things relate, and to do so in a fresh context that would allow everyone to develop new understanding.

Pushing us one step past Inquisition's knowledge. Veilguard, after reframing the lore, had to leave us a path for new lore, and increased understanding. I think the devs put it really well when they say that their aim is to give us some answers, but leave us with even more questions. More on that later, and in future posts.

Updating Thedas' ethos. Let's face it. It has been 15 years since Origins came out. The things that were more typical of scifi/fantasy (SFF) then are just not the same now, and would not be perceived by 2024 players in the same way as by those who started Origins in 2009. The world has changed; our cultural understandings are broadening and need to continue broadening. BioWare is doing a good thing by incorporating things like nonbinary identities into Veilguard, and it is good that Veilguard is progressing the world of gaming in that way, especially considering its success. (This is also, I wager, why we choose an Archon out of two choices who want the same thing, rather than leaving that open to a more "evil" option).

Dislodge older fans from their Solas headcanons to get everyone old and new to the same confusion and potential distrust. Hear me out. Everyone who's stayed since Inquisition has beliefs about Solas. Even me, who got here in March of this year, whose fic reads overly soft now because I just didn't know Solas' grander plan until 48 hours before Veilguard came out. Everyone has had headcanons for so long that everyone has had time for their opinions of Solas to cement themselves. In order for Veilguard to work as a story, they had to debunk what everyone thought they knew: both lovers and haters of the famously controversial egg. By breaking down our existing beliefs, the devs open up essential curiosity from the players as to who—and what—Solas really is, which propels us through the narrative and has us absorbing information.

And this curiosity? It is why Veilguard could not have the Inquisitor as its protagonist. To keep us curious as players (and "readers" of the lore), BioWare needed a new protagonist.

Specifically, they needed Rook.

The Protagonist: Why Rook's Perspective Matters

Here's the thing. The protagonist is not just the face of the game. They are our vehicle to understanding that game. The plot follows their wants and responds to their understanding. What they don't know, what they want to know, is what makes up our every objective. Their emotional journey through the game is our emotional journey through the game. Following it, going after the things that matter to our protagonist, is how the entire game (including its lore) takes shape in our minds.

That's why it's essential that they don't know everything—especially after a ten year interim between games.

Veilguard's plot and twists proved that the Inquisitor did not know everything. They, in fact, knew less than half of everything. If we had kept them as the protagonist, all of our knowledge and curiosity would be shaped by the Inquisitor's understanding: a wrong understanding. We could constantly be fighting with what we think the Inquisitor should know, what should be true because we had seen it through the Inquisitor. We would be set up to be at odds with the very events of the game. Rook is a blank slate, barring a few key tonal indicators, and that blank slate allows for us to fit all previous lore into its new, recontextualized shape that I mentioned above. (Again, note that I am not saying rebooted.)

That, and Rook has multiple motivations. The Inquisitor is focused largely on stopping or saving Solas; Rook is charged with figuring everything out as it is happening to them in real time with almost no context or experience, AND stopping or saving Solas. The Inquisitor has existing allies and resources; Rook does not. Rook must build their own campaign from the ground up, and that means the player is building their own experience from the ground up. Their allies, abilities, and home base, yes, but also their knowledge. Discovering things at the same pace as Rook, with a similarly urgent drive to do so, keeps the game from infodumping at us. It keeps the reveals evenly spaced, but also immediately interesting to the player.

And best of all? Rook allows the writers to do what they want to Solas without breaking his dynamic with the endless sea of Inquisitors (or, at least, with way less risk of doing so). We needed to have our theories about him broken down and rebuilt as players; to do that to the Inquisitor would damage an entire sea of headcanons. We'd never get the Solavellan ending we wanted, for instance, if Solas had played mind games with Lavellan for that many months. And if Solas didn't do those things, if he'd been wholly defanged, he would have lost his appeal and importance in the narrative. He wouldn't be the Dread Wolf in the ways that matter to Veilguard.

It's important, then, that Rook has just the slightest bit of backstory. They care about their allies. They are not a potential political force like the Inquisitor. They have many options to be impulsive. Every single Rook has rebelled against authority. Every single one has a stubborn streak. BioWare put all those qualities there on purpose, because Solas uses every single one, in every single Rook, as a tool. That was all essential for his character development in this game! At the same time, they couldn't do that with the Inquisitor as protagonist, because after 10 years, no two Inquisitors are similar enough to predict/script their actions and responses in that way.

Those twists are perhaps the most important tool for forward momentum in the game. The more they keep us guessing, the more we'll play and seek new information, the more we'll learn. Which brings me to...

The 3 Act Structure: Our Lens

Like I said: BioWare couldn't just infodump at us in Veilguard. It wouldn't be interesting to even half the fans that stayed, these ten years. To keep us engaged as players, they had to string the lore through a series of engaging events. Keep the momentum up, so we would not be lazily looking over codices, but chasing new knowledge and understanding. It all had to be emotionally relevant and resonant to keep us caring, because very few people play games they don't care about.

Veilguard, like a lot of written art, follows the three act structure. Though there are a lot of variants on the more precise beats, they all broadly follow the same-ish path.

Hook: The opening image. In Disney movies, this is the song where the character sings about all the things they want in their journey, and what they truly need is only implied. It gives an opening note for the theme by showing what the character lacks, and what they might need to gain before defeating the final villain. In Veilguard, this is our prologue, centered entirely around Varric: the big red herring where we see that Rook is out of their depth, opting to push over a support beam rather than take on the Dread Wolf. Off-screen, it is also the background information about Rook, showing us who they are and what they want before we play.

Inciting Incident: The event that kicks off the main plot. In DA:tV, there's a big collection of these (because every companion needs one; we'll get to that). The first big one is, of course, the failed ritual. The death Rook doesn't see. The Evanuris are freed, but Rook has only half the information.

First Plot Point: "Plot Point" means "big/defining decision" in writer-speak. This is the moment the protagonist decides to go forth on their adventure. In video games, this is more or less determined for you, but you have the option to flavour this moment in Veilguard. You can choose how to tell Solas that you'll do what he wants: either by appeasing him or angering him. You do the same for Neve and Harding afterward, and then again in Arlathan and D'Meta's Crossing. You state that you're doing this, no matter what it takes.

First Pinch Point / "The Setback": "Pinch" means "twist" in writer-speak. It's the first time the narrative is shaken up, and is also usually the first time we see the true scope of the villain. In Veilguard, the first big twist has been called "the Setback" by some of the devs (notably, I heard it at a panel in September). For Veilguard, this is Weisshaupt. We see the true scope of Ghilan'nain's horrors, but we also see the first BIG hints (outside of Varric) that Solas is manipulating us—because he really doesn't seem to hate the Wardens as much as Inquisition enjoyers like myself expected. This event concludes act 1.

"New World" / "Fun and Games": The devs have remarked that they wanted to see the tone of their setback (Weisshaupt) threaded through the rest of the game, and we do: through Davrin and Lucanis' banter, through the reflections on the consequences of Weisshaupt, through every character struggling with their confidence and identity after that point, through the blight getting worse and worse and worse. That's what the New World is: the characters getting used to new circumstances after that first big twist. The Fun and Games are the slow and steady recovery from the twist, warming and solidifying formerly tenuous relationships. This is where we do a lot of companion and faction quests.

Midpoint: In a narrative that ends in a victory (so most games ever), the midpoint is a false victory. We think we've nailed something, only for something else to happen that begins to seed doubt in the protagonist's capability and/or ability to solve the plot. For Veilguard, this is the blighted dragon fight: we think we've got Ghilan'nain, but then Elgar'nan shows up and demonstrates that Rook is in so, so over their head.

Second Pinch Point: The second twist. The villain's identity is crystal-clear, and by now we've definitely interacted with the villain more directly. This is Arlathan, Elgar'nan's mind-trap—and Solas' "rescue" of Rook, showing his duplicity in full. Elgar'nan notably says a line about not falling for Fen'Harel's tricks again, and it foreshadows what we will see of Solas.

Disaster / Crisis: This is the event that triggers the protagonist's downward spiral. Not a twist (necessarily), but a catastrophe. In Veilguard's case, it's both: the Ghilan'nain fight leaves one companion dead-dead and another presumed dead. Then, the twist: Solas using Rook's sharply felt regret to pull his gambit and swap places with them. A series of events that literally had me gasping so frequently I got dizzy. Thanks, BioWare :) Many people say that this event, or something between this event and the "All is Lost" beat, conclude act 2. For games, the pacing is sometimes different, as is the cutoff mark, because otherwise the third act has the potential to be very short.

"All is Lost" / The Dark Night of the Soul: It's exactly as the name suggests: all has been lost. The protagonist doubts themself completely. It seems like nothing more can go wrong, and like nothing might ever go right again. The protagonist is at a loss for how to move forward. In Veilguard? Varric is dead. Davrin/Harding is dead. Bellara/Neve is dead. Rook is literally trapped not only in their regret, but in a reflection of Solas' regret. And to get out, they'll need...

"The Epiphany" / Second Plot Point: "Plot point" means "big/defining decision" in writer-speak, as stated above. Only this one contains more layers than the first. This is where the thematic statement of the piece comes out: the lesson that the protagonist must learn is stated, clearly, for all of us to see. It is the thing that picks them up off the ground, giving them strength to face the climax and the danger it promises. In Veilguard, this is Varric saying to Rook, "Have you learned nothing here?" and reminding both Rook and player that he chose this; Rook's companions chose this; we cannot blame ourselves for the actions of others. We cannot carry grief for other people, or we'll drown in it. Sound like any other character we know?

Climax: The big fight! But also, the big moment where the theme is shown to be the narrative key. In every ending of Veilguard, Rook being Solas' perfect mirror is the key to winning the day against the Dread Wolf. It just depends on what facet of Solas Rook chooses to mirror: the trickster, the nasty combatant, or the person who was haunted by their own failings and lost companions.

Resolution: Narrative threads are tied up, or a promise is made to tie up those loose ends in future installations. Veilguard's credits do both of those things. :)

Why am I telling you all of this? Because the lore must follow that skeleton. Every reveal we get must fit into both the timing and the feeling of those events. It would not fit to suddenly drop everything about the Titans right after Rook gets to the Lighthouse, which is why those enemies you need to kill to get the last memories are level 30-40. It would not fit to uncover everything about the blight's origin before Weisshaupt. If they forced us into that as players, all the casual fans and new players would duck out, feeling overwhelmed.

Even for us older fans, narrative structure shapes significance. You can tell a lot about a codex's overall importance and tone just by understanding where you find it, and when. That's why the Trespasser codices carry so much weight, even the ones about the Evanuris' actions that we don't see on screen at all: they are at the bitter end, and so they carry all the bitterness, longing, and mourning of that ending. Without the context of Trespasser, they mean less.

This is also why Veilguard paces its companion quests this way, not allowing you to complete them until later in the game. Every companion has something to teach us, and BioWare wanted to give each companion's narrative the weight it deserved.

The Companions: Paths to Our Answers — and Future Games

Anyone who's played Inquisition knows that companion quests shape entire facets of the lore in individual games, as well as set us up for the trajectory of the next games. Just look at Solas and Cole: together, they shaped our whole understanding of spirits in Veilguard. They set us up to ask all the right questions about not only spirits being bound as demons (Solas' quest), but about spirits being able to manifest in physical shape (Cole's quest). Together, their narrative conclusions foreshadowed much of the Evanuris' reveals in Veilguard: that they were spirits who could manifest into corporeal shape, and that they had the ability to ask others to manifest—and then bind them.

Again, these quests are paced throughout Inquisition's main plot. You cannot do their before Skyhold, and you cannot do them after the cutoff of (I believe) the Temple of Mythal. Inquisition forces you to see those quests' endings in the exact right spot: sometime around the midpoint (Adamant/WEWH), but before the disaster/dark night (the Temple of Mythal). They do that so you will feel that those things are significant.

Veilguard does the same thing. Every companion has a facet of the lore attached to it, but you cannot follow those threads to their conclusions at the beginning of the game. The game won't let you, because the moments need to be spaced out properly and carry the necessary emotional weight. Not all of their quests promise speculative material for future games in the same way, because some explain the context of the current game (Varric, in DAI, accomplished both with the red lyrium content, for instance; Leliana, meanwhile, dealt with the theme of faith in DAI and did not promise future speculation).

These concepts will all get far more attention in due time, but in short, here's what I think is associated with each companion:

Harding: Titans! But also, angry titans, and the difference between "angry titan" and "source of blight." In the same vein, what the dwarves should do going forward, and where they should place the titans in their culture.

Neve: The soul of Veilguard; her narrative is very current to DA:tV, in my early understanding. But she brings forth a lot of nuance to the themes of regret, and what that regret looks like on a smaller scale (a city, rather than a world). She does a lot of work in showing us that regret is regret, no matter the scale, and that the work we do to do better matters, no matter the scale. Additionally, her personal quest foreshadows Solas' use of blood magic against us being more than we thought by showing off Aelia's puppets, suggesting to us (tonally) that Rook may be Solas' puppet.

Bellara: The Forgotten Ones!! Anaris! Also, the place of ancient elvhenan in the future of Thedas, and what the elves should do/feel going forward.

Lucanis: I think they were going for some Forgotten One/Forbidden One hints, judging by some notes from the Ossuary and some banter between Lucanis and the others. This needs more dissection. Lucanis sort of does both what Bellara and Neve do: the Forgotten Ones, and also the heart of Veilguard's theme, with a lot of found family vibes thrown in.

Davrin: The blight itself, and the future of the blight without any archdemons left to cause capital-B Blights. Thedas' path to healing its nature.

Emmrich: The nature of what spirits are. I need to go screencap more specifics, but I swear this necromancer has referenced the difference between spirit and human soul and has stumbled upon saying that the two might not be so different at least once. Also, the Formless One centers around the Necropolis, and I'm thinking "spirits seeking bodies" and this whole idea of unlife/undeath is going to be explored later.

Taash: Remember how I said BioWare needed an ethos update? I think we see that most predominantly in Taash, whose entire personal quest is an examination of the values and priorities of different cultures, as well as the place of gender and gender ideology in Thedas. We saw this with Dorian and Krem in DA:I, but Taash modernizes that conversation (10 years has changed a lot!) and brings it front-and-center. At the same time, their existence is referencing (potentially) the Scaled Ones, and showing us that the kossith (Qunari) might have far more ties to Evanuris shenaniganry than we thought—and that those shenanigans did not happen on Thedas, but potentially far across the sea. (Neve and Lucanis accomplish this, also, with the Shadow Dragons and Crows, but not to the degree that Taash does).

This is why the companion quests MATTER, and (at least partially) why the game asks you to complete these quests or suffer consequences in the finale.

You know what else happens, upon completion of these companion quests?

You get codices. In Dragon Age, they are the threads that tie the seemingly disconnected pieces of the plot together, and that's on purpose. This time, they automatically unlock upon completing different stages of companion quests—and as far as I can tell right now, days after completing the game for the first time, the ones revealed later DO contain spicier hints about future lore than those revealed earlier.

And between ALL of these things—the demands Veilguard's timing placed on Bioware, the need for Rook as a protagonist, and the structure for every companion's quests—I think BioWare did an amazing, genius job with their narrative. Yes, I have seen some of the art book content, and yes, it would have been so cool to have those things, but... I truly do not think BioWare needed them, as close as I would have held cameos like Cole to my heart.

From a lore perspective? They knocked it out of the gods-damned park with Veilguard. They did an amazing job with each of their quests, and I promise: there is no shortage of juicy lore to be found in Veilguard. Now that I've inflicted an outline of what I know about stories upon you, I promise: all of this serves as context for everything I look forward to saying in future posts.

_____

If you got this far, thank you, as always!

This series is going to take a turn toward what I noticed in Veilguard, how I feel that Veilguard adds to my theories (or perhaps debunks some of them), and where I think the series is going to go from here. But in order to write all that properly and miss as little as possible (even though, in November 2024, with no wiki or transcripts, I am guaranteed to miss things), I need to keep playing the game and keep reading the codices I find.

Stay tuned for the next instalments, though I cannot say how quickly they will come after this. <3

[dailypokemoncrochet]

is there a way aside from having a tension ring to make crochet less hand-hurty (so to speak)? its something i wish to learn but i have chronic hand+wrist pain, so even just making a simple chain (the only thing i learned so far) can leave my hands hurting for over a day

love the mons and your drive to make all of them btw <3 def something any true pkmn fan would look at and go damn you rule

actually, one more question: how long have you been crocheting in general and when did you first start the mons? im curious now owo

Honestly, if making a chain hurts to that degree, I'm not sure how helpful my advice would be. My hand/wrist/arm pain was only ever situational when I crocheted for hours on end, for weeks, with little to no real breaks.

That said, what helps me is doing stretches specifically for knitters/crocheters or for carpal tunnel (there's a lot of overlap), and taking a break every hour or so (physically putting down the crochet and doing another non-arm intensive activity).

Aside from the tension ring, I've also got this ergonomic crochet hook handle (Amazon link) that helps because the round shape means my hand stays in a more "relaxed" position. I crochet with the handle in the palm of my hand (knife grip), so if you crochet another way (like pencil grip), it might not work as well.

I've been crocheting since around 2011-12 I think, so 12 years now. I made a few Pokemon around that time and for a few years, but in a different style than what I do now (some tagged under #older pokes). I started this project officially on May 1 2017 with the goal of crocheting each Pokemon as a small amigurumi. It's been 7 years of on-and-off crocheting towards that goal!

[osakanone]

I read and agree with 95% of your post.

Prefacing: You're great. You are wonderful, I am now following your very good posts and I am a ball of weird neurotic energy that has to get this off my chest.

Why?

TheHorrors™ as of late have made me need to explain this like five times in four days.

Writing it like this means we can discuss it, i can link a post and people who need to see it can see it and I can get on with my life instead of having a redundant talk.

I might add citations pictures, etc etc later but I've already spent 45 minutes writing and re-writing this and I need to get this out of my system.

Once again, you're great and the fustration inside the response is not directed at you but at the issue itself.

You? Wonderful. Glorious poster. Evil baby. Delightful. Much love. Excellent Blorbo choices.

Issue? Shitty. Fills me with outrage. Paradoxical. MurderDeathKill.

Okay? Okay: rant begin:

The problem is "atomized individualism"...

1) Has a really well known and distorted meaning in libertarian circles you're probably unaware of which says "we're very rational and we never get emotional, and if I've got mine fuck you" coming from John Locke who quietly leaves out the "equality" part. 2) Actually self-defeating and paradoxical (I'll explain this)

Atomism claims everybody is

self-interested, self-sufficient and that altruism (being nice for the sake of being nice) is purely performative -- and that in functinal applied practice, asking for help or having systems to fall back on is inherently not-ok because you're not being the platonic ideal of the atomism (this is actually how familial orders emerge, instead of socialized safety-nets).

The fine text is also supposed to state that every member is equal which kind of contradicts the idea that the individual is pushed first; if you have more resources than others, your ability to execute on your individuality is inherently unequal.

It boils down to "the individual" vs "every individual" which gets very very messy.

It should mean freedom from bad things (over-exposure, abuse, starvation, etc, etc) not freedom to do bad things -- but this is where things start to get dicey.

Individualism claims the individual is the primary source of all value, and that the individual is always rational -- with the applied caviat that if anybody is acting irrationally, they lose their individuality.

You're gonna see a lot of applied caviats. Things which sound good on paper, but play out in really really messy ways in real people as side-effects of value-systems which then become the main goals of said systems when they benefit the people upholding those systems.

Combining atomization and individualism, you get...

"I am entirely rational, I am the only source of value, I am self-sufficient, and I am concerned with myself, and anybody who disagrees with me is irrational, because I am rationality defined"

So to go over the freedom part again:

This plays out as...

"uhhh yeah its a philosophy that means its good for me to not pay my taxes, because taxes are evil because they hurt me personally and specifically as an individual by subtracting my explicit capacity to execute on my self-interest (eg, get thing)"

This the mentality of your Peter Thiels, your Elon Musks, and your Donald Trumps. People who only see the "the divine right of kings" as wrong because they themselves are not the kings.

Wait, this is a lot, how did we get to this???

Their definitions ignore that most social definitions and benefits come from implicit attitudes and behaviors we do unconsciously (since humans spend most of their time running in a kind of autopilot called automaticity).

We learn this implicit automaticity from being raised, cared for, socialized, taught, and forgiven. They are hard to measure with a utility function mathematically, because they're hazy and vague and are often the root of interpretations of words (as we've experienced here, with this very thread).

Explicit attitudes are those which happen at the conscious or aware level: Its when you know you have to do something, or you haven't engrained something so you do it performatively out loud. This is significantly easier to measure with a utility function and is a huge part of how the legal system functions, and why the legal system assumes all actors (people) are rational.

Spoilers: All "rational" decision-making neurologically speaking originates from urges and feelings, and is then packaged and organized into "rationality".

Nobody human is rational; there are only rationalizers. Anybody who claims to be rational and calls anybody else emotional is both lying and projecting. If nobody felt anything, nobody would do anything: That's what depression is, even high functioning depression.

Going further, communication and implicit attitude learning and how explicit attitudes become implicit attitudes is the human skill.

Its why its inherently nonsensical to try and atomize us from eachother. We are all disturbingly susceptible to propaganda.

It isn't our tool-use (corvids molluscs, diatoms and arachnids have us beat there up until the last 80 to 15,000 years when we did metal properly afaik) -- its not our intelligence or short-term-memory (primates have us beat there, as genius level counters, strategizers and selectors): Its communication and sharing out strategies.

This is what we mean when we call humans "social organisms".

Seperating individuals truly leads to brain damage, which we see in those who undergo extended solitary isolation -- and likewise those who are placed into extended sensory deprivation such as white-room torture.

So, returning to our point:

What actually happens to our self-interested agents?

They refuse to concede that they can be irrational (which they scientifically and verifiably are: we are all irrational most of the time running on habit and memory, not pure decision making).

Result?

Self-interested agents who will not concede always compete -- whether towards singular or group-goals, and as resources collapse the group goals become singular goals.

Why?

Conceding that you are capable of irrationality and understanding what this means and the consequences and trusting that you can feel safe doing this requires emotional insight.

To develop emotional insight, you need to be a skilled communicator or have had excellent social training either through direct social contact or secondary social contact (social and cognitive stimulus creating cognitive simulations, aka media you consume).

The venn diagram of properties producing ultra-competitors is...

Dysthymia (being unable to create enjoyment or satisfaction without external validation, such as scoring, numbers or from another perosn)

An insecure/avoidant attachment style (eg, you depend on the numbers system because forming trust is compromised for whatever reason)

This produces an arms-race of ultra-competitors all trying to maximize whatever society sees as the most valuable (eg, money) -- who quickly figure out that the optimal strategy is to limit the number of competitors they have.

They do this by tricking the other members into playing "other games" or to collect "other things" as a distraction to sate them while improving how well they achieve their own goals.

These are your time vampires like the internet, your endless merchandising of ownership/consumer status, your religions to sate existential status needs, your abusive families playing for membership approval status needs, etc.

Rant End.

Okay, so now what?

So I agree with 95% of what you're saying, and I'm a pedantic bitch basically.

I love betraying nation and bloodline. I love rejecting the social order. I love being able to pursue my own goals even when the world around me wants me to adopt theirs instead. I love blasphemy and queerness and getting to choose who my family is.

I love this.

Everything you want is good, but atomized individualism is not the descriptor for those things because pure atomized individual reinvents the problems it seeks to solve for the individual by externalizing them to maximize its own returns.

Its why libertarians always create government again, but with extra steps where they are the leaders, which is apparently fine for some reason.

"I love atomized individualism" is not a statement you can make in a void, especially given current events.

What you mean is

"I love equitable atomacized indivividualism"

And by adding just one word that clarifies your statement and nullifies so many MANY problems, I 100% agree with you.

Okay got that out of my system.

Phew.

May your self-loving-vampire and may all of your self-loving be glorious and your Kohaku pleantiful.

Take care! :3

I love atomized individualism. I love betraying nation and bloodline. I love rejecting the social order. I love being able to pursue my own goals even when the world around me wants me to adopt theirs instead. I love blasphemy and queerness and getting to choose who my family is.

[tizeline]

Was scrolling through your blog cuz it's been awhile since I checked up on tumblr, and then I found this:

And this:

And this is absolutely hilarious to me because wdym you've done years of art school and still can't explain how you draw things???? XD

wheeze

Honestly same, though. No art school for me but I've been drawing for two decades and I can't explain how I do it either. And yet I would also start infodumping about my process if given even half an opening haha

ig it's just an artist thing lol

NOT THE CALLOUT-! 😭😭😭😭

LMAOOO okay but lemme clarify, from my point of view there are at least two different ways of explaining my art process. There's the tutorial, where you explain the technique and instruct others on how to replicate that, you teach others how to draw, and that is what I'm bad at. The thing is I never had to teach others how to draw in artschool cuz ya know... that's the teacher's job, not mine!

The other way of explaining my art process is explaining specifically my thought process when creating the art, justifying what desicions I made and such. That was something I did all the time in art school so that the teachers would understand my art better, which is why that is what I actually know how to do.

So yeah, that first screenshot if from a post where someone asked for art tips which I am alas very bad at providing unless I'm helping a complete amatuer XD And the second screenshot is from a post where I was explaining my thought process while drawing one of my comics, it wasn't intended to be a tutorial (though if people learned anything from it then that's always a fun bonus)

I hope that clarifies it! ^^

[brf-rumortrackinganon]

RTA, thank you so much for your explanation on Catherine's cancer diagnosis! It was very helpful! :)

You're welcome!

The main thing to take away is that no matter who the patient is, cancer is a complicated medical issue. Everyone's cancer is different, everyone's treatment is different, everyone's recovery is different, and everyone's public face is different so at the end of the day, the only expert about what someone is going through that specific patient herself.

I do think Rhiannon complicated this a lot more than it needed (or deserved). Whether it was genuine mistake/sloppy editing or she actually knows something, I don't know but I'm on the side of "sloppy editing" because I think it's truly heinous for a reporter to violate Kate's medical privacy when it has been only Kate's second direct request in 22 years of public spectacle.

But I did learn, earlier today, that Rhiannon's partner also works with the BRF. He's a photographer who's done some work with William for Earthshot. So it is possible that Rhiannon knows more because she can piece together things she's heard with things her husband's heard but again - if Rhiannon actually heard the words "pre-cancerous cells" from someone and chose to report that despite Kate begging for her health to remain a private matter...man, may Rhiannon have the day she deserves.

[itsaspectrumcomic]

hey! before I begin, I wanted to say how much I love your comics!! the style and palettes are really soothing, and it's always nice to read them, relate heavily, and not feel quite such an oddball!! so thanks :]

I (very recently) received the results of my diagnosis for autism and adhd (I got both, and a couple other smaller things) and was wondering what things you did differently immediately after diagnosis that helped you? I've tried things like proper organisation and cleaning, keeping on top of deadlines for college as much as I am able, and trying to study as much as I can (a levels are very stressful even though I've only just started the course, and while these solutions are what's considered "good" by the college, its not really helping me as much as I would like)

a large part of the diagnosis was dedicated to brain function (I had the privelidge of being assessed privately, so the evidence was very detailed and thorough), and I scored stupidly high on vocabulary and language study. However, I feel like there's somewhat of a disconnect between the effort I've put in on my foreign language studies and the progress I'm seeing- I'm trying so so hard to understand grammatical concepts and absorb a lot of vocabulary in preparation for some smaller tests in the near future, but I'm not seeing the reward during lessons or even with preparation. I am fully aware that with all the work and effort I'm spending, I am closer than I would like to be to a meltdown and probably burnout, which I desperately want to avoid. It just feels that although my brain is wired for linguistic study, I feel like I'm falling behind or failing

I guess if you have any advice or anything that helped you once your diagnosis was confirmed, or tips for study, I would be greatly appreciative :]

Tldr: struggling with study and fearful of failure, any advice?

hnng I remember the stress of A levels, you couldn't pay me to go through that again 🫠

After being diagnosed I started to allow myself to unmask and stim in more obvious ways. Previously my stims had generally been pretty small, like flicking my fingers or wiggling a bit, but now I allow myself to flap and rock and play with fidget toys as well and it genuinely does help release tension.

It sounds like your're working really hard - if you feel close to burnout and/or meltdowns, you might be working too hard. I also found it really hard to take breaks when I was studying (...still do) but the truth is, by not allowing your mind to rest, you're actually making it harder for yourself to learn and retain information.

So my advice is, take a break! A real break, not 'I'm gonna scroll on my phone for a bit' or 'I went to the toilet that counts as a break right'. Get up, step away from your work for at least an hour, and do something you find relaxing and fun. Go for a walk or just sit outside. Make yourself a drink. Take a nap if you need to. Try to avoid looking at screens during your break if you can. And when you go back to studying, schedule times to have regular short breaks as well (eg a 10 minute break every hour). I set alarms for mine because otherwise I forget to move for five hours.

A break allows your brain to process the information and let it settle properly. When you go back to work you'll hopefully feel more refreshed and able to take in information again. Remember, if you've just started the course, then this is a marathon, not a sprint, so please try not to overdo it and burn yourself out right at the start. Conserve your energy for the long haul.

If you're still struggling, are you able to ask for help, maybe from a friend or a teacher? A teacher could give you some techniques on how to improve in the specific areas you find difficult, and sometimes just talking through the bit you're having trouble with or not understanding can help a lot.

Good luck with your studies and I hope you take some time to rest as well :)

[hismercytomyjustice]

FINALLY MY TIME HAS COME

But no, I don’t have cleaning/organization OCD. I moreso have “pure O” where most of my compulsions are “invisible” in that they’re mental.

Shit like ruminating thoughts which turn into OCD spirals I struggle to get out of. Mostly around morality and desiring unattainable levels of perfection in all things.

Like “if I do the thing, I have to do it perfectly” and then get stuck mapping out what “perfectly” is in my head. To the point I overwhelm and mentally exhaust myself and don’t do the thing. And then I get to deal with guilt spirals! Yay!

Which is why it crops up in places like “I need to walk my dogs” and “I want to learn piano.” Because I spend so much fucking time ruminating over “the best” way to do something.

Like with piano. I started taking lessons after agonizing over whether or not I should (ex. what if I don’t practice enough, what if I change my mind, what if I disappoint my teacher, what if I’m taking a spot from a potential student who was more dedicated, etc).

But I signed up! And I actually do practice! More than I’ve ever practiced an instrument before in my life! And I minored in music (specifically violin)! Which should make me feel fulfilled and proud and happy, right?

Right???!!!

NOT WHEN MY OCD GETS LOUD.

Then I get to experience Fun Things™ like panic attacks because I “haven’t practiced enough and I’m going to disappoint my teacher.” I’m also #blessed in that I tend to be a fast learner, so a lot of stuff comes fairly easily to me. Not piano! And my brain DOES NOT KNOW WHAT TO DO ABOUT THAT. Because WHAT DO YOU MEAN I’m not immediately good at something?!

Because to my OCD, me being good at something = me having value as a person. And if I’m not good at something or doing enough to get good at something, then “I am a failure, what am I doing with my life, I am a disappointment to myself and everyone unlucky enough to get caught in my orbit, I will never accomplish anything, why do I even exist (as in I have no purpose in life and will die one day knowing I never did anything worthwhile),” etc etc etc.

Which has led to having to unpack a lot of insecurities and all (see above) that I didn’t know I had. And has led to my therapist repeatedly telling me to stop being so mean to myself and to put less pressure on myself.

Lol I feel like 90% of my sessions with her are “here are all the ways I am failing to be a perfect person who gives 200% in all things” and her being like “…you know that is not actually possible right?”

Of course it isn’t! But try telling my OCD that!

So that’s how I go from “it’d be neat to learn piano” to “I will one day die knowing I squandered my life and somehow ruined everyone else’s lives in the process”!

Rinse and repeat! About every fucking thing in my life!

Yay!

But that’s what therapy is for! And OCD is NEVER CORRECT. So you just have to get up every day and live an exposure based lifestyle, constantly making yourself do or not do all the things your OCD tries to convince you are life and death should you ignore it.

And it gets easier the more you do it, but fuck it is a lot of work. And so much of it involves making sure you build a strong foundation for yourself so it’s harder to knock you off of it when life tries to take you out at the kneecaps with a baseball bat.

We ask your questions so you don’t have to! Submit your questions to have them posted anonymously as polls.

[4ranghaes]

soo,, you're not-compared-to-others-good at song fics (i'm reading them with a great pleasure that you can imagine!! ty for your hard work 🐝⭐) butt what if you find time to write maybe some kind of your associations with boys based on 80s-90s movies?? i think they're all a type of retro bfs ❤️‍🩹 shout out to leehan and patrick swayze parallels istg.......

ੈ✩‧₊˚ bnd as old movie bfs

ot6 bnd x reader [fluff]

a/n - anonie your mind😍😍 i LIVE off old movies this is one of the best asks i’ve ever received

sungho ~ william thacker from notting hill

thinking specifically about the scene where he crawls across the bed to look at her boobs under the duvet. constantly wearing his glasses as you sit and watch films. stuttering as he tries to be polite as possible offering any food or drink he has available, always such a gentleman. sitting out on the terrace in a terribly boyfriend fit of button-ups and barefeet. protecting you in situations even when he comes across as a total fool. actually does many foolish things, but it’s okay, because you think he’s lovely <3

riwoo ~ cameron james from 10 things i hate about you

smitten from the moment he lays eyes on you. will learn new skills specifically to try and get closer to you. unrelentless in his pining, but always polite and respectful. drives you home. waits until you want to kiss him. may be one of many waiting in line, the more extroverted, brash men trying their hardest to get to you. but he knows he’ll get you in the end.

jaehyun ~ duckie from pretty in pink

for this i’m going back to the original ending of duckie ending up with andie. your best friend. loud, bright, funny, eccentric, and absolutely head over his heels in love with you. even as a friend, is loud and proud about how much he loves you and how beautiful he thinks you are. diligently plays his role as a friend, because he knows you’ll see him for what he is in the end. watches you love and be tortured by other men, helps you when you fall. dedicates everything to you. is so serious about being your future, he’d buy you a house ^-^

taesan ~ kevin dolenz from st. elmo’s fire

tortured poet who would rather go months and months without any romantic or sexual interaction than not have you. watches you with your boyfriend (his best friend) in a haze of jealousy while trying to bury it down deep. he knows he’s cheating on you, he knows you deserve better, but he doesn’t want to break your heart. doesn’t mean to hurt his best friend by swooping in after it falls apart, he’s just loved you for so long he can’t wait another moment for you. starts writing again after you finally know his feelings for you, he’s found happiness again.

leehan ~ ferris bueller from ferris bueller’s day off

okay this is such a strange decision to make im sure because anonie i also agree about patrick swayze, but think about it. charismatic extrovert, not overly loud but just brimming with confidence in everything he does. just wants to have fun and spend time with his loved ones while enjoying his youth, but at the same time, he knows he loves you so much he’s already ready to marry you. he’s not joking either, no matter how much he jokes about other things, this, he’s quite serious about. will organise the craziest things and go to the strangest lengths just to see you smile.

woonhak ~ knox overstreet from dead poet’s society

obsessed. this is his yawp. this is his reason for poetry and art. he doesn’t think he can go on unless he gets you, or at least lets you know how he feels. he knows you have a scary older boyfriend, but maybe you’d see how much of a tool he is once you knew him! you inspire him and he was right in the end, once you knew him, you did need him too.

[sokkastyles]

Got into an argument with an Azula stan who said that Azula foregoing revenge against the Fire Warriors in "Azula in the Spirit Temple" for "betraying" her was Azula learning a lesson after Ty Lee's "betrayal."

And while I do think Azula did learn something from Ty Lee's defection, and that that did influence her decision not to seek revenge against the FW, I don't think she necessarily learned anything about morality or treating people better.

The main lesson Azula takes from Ty Lee's defection is that she can't control people through fear the way she had previously thought she could. Her relationship to the Fire Warriors is similar in that she does control them through fear, but she also uses other manipulation tactics to keep them in line. Specifically, she convinces them that they are better off working for her than they were before, and what better way to do that than to target women who were institutionalized, who she can easily convince that she is saving? That way, she has people whose obligation towards her she can leverage to ensure that she stay under her control.

But then she runs into the same problem she did with Ty Lee, not predicting that the FWs would be more loyal to each other than they are to her, especially when she puts one of them in danger and asks them to disregard one of their own for loyalty to her alone.

There's that tragic scene at the end where Azula is looking down on her former Fire Warriors, and realizes that they, just like Ty Lee and Mai, have with each other something that Azula utterly lacks, and that's companionship and genuine caring for one another. And on some level, I think Azula decides to forget her revenge because she envies that. But if Azula has learned a lesson about truly caring about others, it's only on a subconscious level, because her conclusion is that she can just find new followers. Presumably, ones that she can control better, instead of trying to fight against those she can't control.

So what has Azula really learned? Ty Lee and Mai's betrayal came as a shock because it was the first time someone had ever really stood up to Azula. And as Mai says, Azula failed to understand people in the way she thought she did. But now, Azula knows she can't control someone through fear when friendship and love exist as stronger forces. If anything, she lets the FWs go because she's learned more about when she can control someone, and what kinds of circumstances make someone easy to manipulate.

We don't know very much about how Mai and Ty Lee became friends with Azula, bit their backstories imply that both of them had an emotional void that Azula was able to fill. Ty Lee because of not feeling like an individual in her family, and Mai because of feeling repressed. But that changes when Ty Lee and Mai find something else to fill that need, Ty Lee's being the circus, and Mai's being Zuko. Azula had to take those things away to keep her friends loyal, but that loyalty would not last, because she no longer had that emotional hold on her friends.

So when Azula seeks out new followers in the Fire Warriors, she picks women who are especially vulnerable, whose families have cast them aside, who are desperate. She convinces them that they need her. When they finally realize that they don't, that's when Azula has realized she has lost her main advantage.

This is why a lot of manipulative people end up becoming worse in therapy. Understanding people better can teach a person to empathize, but it can also teach a manipulative person how to manipulate better. Where Azula goes from here is up in the air, but the choice, as it has always been, is hers, whether she chooses redemption or just finds someone else to fill that need for control.

[worstdisastermaster]

The books and the shows aren't the same thing and?? That's okay?? It doesn't have to be??

Some of the artists haven't even seen the show yet, and maybe won't 🤷‍♀️ I know I've seen like. The 1st episode and that's it lol. And I really enjoyed it and I think it's really fun

But people tend to separate book fandoms from in screen fandoms, to an extent, at least, bc there ARE differences, and THATS OKAY

They are very connected but they are not the same and I don't understand why people find that so hard to accept?? Like. Genuinely I'm so confused lol

Like if someone was being disrespectful, or trying to whitewash Leah or something horrid then like. Defend her!!! (Do try to be polite tho bc people can and often do change, and they know what they have been taught until they learn more- like for example, a few years ago I had no idea ab anything lgtbq and I peob would have gotten myself canceled bc I had. No idea. Ab any of it. And despite having best intentions in heart i totally would have offended someone, and that would have crushed me, because *i didnt know*. I never would have hurt anyone on purpose, i just didnt realize what COULD hurt others on that specific topic, much less why. But now I identify with it and am learning new things ab jt every day and etc. And that's a super touchy topic for a lot of people and for good reason too! Just try to be kind first, then if they are jerks u can be a jerk back lol. Just give peopke a chnace to get better- and then PLEASE dont hold the past against them ubless they very clearly havent changed mk please please please let people grow and change and get better dont crush them before they can) anti Leah trash is. That. Trash

But why would you attack book Annabeth, just for existing? She was my childhood, and I identified a lot with her as I grew up. And guess what! I also identified with Hazel, and I do so even more now! No matter what race she will be casted as, I'm still going to imagine BOOK Hazel the way I always did. Doesn't mean I won't adore her actress, or appreciate art of the girl playing her role! But would you call me racist for drawing her as African American if her actress, was, say, Asian American? Or drawing Leo as Latino instead of Somoan? Because to me, u less I am being a jerk about it, all I'm doing is drawing the book instead of the show. Idk I'm too sleep deprived to put my thoughts into coherent words lol

I love the posts, where it's like, book Annabeth and show Annabeth holding hands. Those posts are my favorite, both because they are freaking adorable, but also. Because it's equal

They are different aspects of the same person

And

Thats

Okay

You know???

I quite literally grew up reading pjo. I read it at least once every year since I learned HOW to read, *partially on pjo*, until late middle school. I was raised on book Annabeth.

Show Annabeth is new and exciting and adorable and I'm so happy for it and I am very excited for all the people being introduced to it!!!!!!!! However, when I'm writing book pjo, I'm not swaping it out for show scenes, bc they are, in fact, different. Which, again, NOT A BAD THING. And you know what? When people from the show fandom write their scenes, they aren't going to be thinking ab the book scenes, and THATS OKAY TOO!!! And I could care less how my readers saw my characters when the read the story. I write them the way I imagine them, but it's their job as the reader to say 'no, actually :P' and swap out the appearance for one they liked better.

I did that plenty often as a kid, and i donf regeret it.

Which, ironically enough, was why my book Percy was blond until ab 6th grads XD I mixed up Luke and Percy's hair description ONCE and just. Never questioned it, though all the rereads, or looking at the covers of the books 💀 you can imagine my shock when I joined the fandom and found out Percy had black hair, instead of sandy hair like, you know, S A N D, like poseidon!!! And now show Percy is blond XD

That just proves people can imagine things how they want and jts okay- especially bc maybe, in an au, they're rifht!!! (Au being show Percy to me)

Anyways I lost my train of thought and it's almost 12 here lolll I hope I didn't say anything ill be embarrassed by come tomorrow~

Good night world :3

Hi guys, wanted to discuss something going on for a while now. What the hell is wrong with pjotwt? Like...whats wrong with this people? Do you see what they say? What they are even trying to do?

First of all, let me start by speaking about the cast. They are all wonderful children, Leah especially! She is doing an amazing job as Annabeth. But book Annabeth still exists yk? She is and she is literally white. It is not racist. But denying about a character being white in the books, even spreading hate like this...is racist. There are people out there related with Annabeth for years. People love her, every version, maybe book more maybe even the movie. How can you disrespect her like this? And most importantly, how can they attack an artist like this, with an art being so beautiful. What they are trying to do is not protecting Leah, it is spreading hate. It is awful. Making this fandom toxic, so so much.

Them trying to erase book Annabeth because she is white, trying to cover her by painting on her, shaming artists, calling people that loves her racist...What do we do about this in pjo fandom? This fandom used to be so beautiful, but now. This people are not part of the fandom in my eyes, because real fans, would respect every version of the characters, love them with their anything, even flaws. They would protect this characters because they love them, so much. And not to mention this characters are the ones Rick wrote 20 years ago, they were with us for so long.

What do tumblr think about this I wonder? Since pjo fandom is pretty active here :3

[wings-of-ink]

Hi Lunan, I was wondering about the player stats if you have time. I keep getting reckless as a go to response for things despite trying to play a more shy and timid MC and it made me curious. How do you determine what choices actions constitute which stat? I understand that the game is still in development and it may not be set in stone or other aspects of the game might be more of a priority, but I was mostly interested in picking your brain, in a general sense, if that's OK. I'm sure you're very busy so there's no rush to answer this ask, or answer it at all.

Hello, Anon!

Let's see, player stats are definitely something that will get fine-tuned as we go. And, funny that you ask, I have literally been dwelling specifically on the reckless stat this weekend.

I'll just explain how I have worked this out below. I apologize that I went a little long...I genuinely enjoy chatting about this stuff, and I gotta bit...lost in the sauce here, lol. ^_^

For the MC's personality and actions/reactions and some of their speech patterns, I have 4 main stats. These are on a scale with their opposing characteristics, so 8 total. There's a 5th stat that tracks how your MC flirts.

Reserved vs Outgoing

Gentle vs Assertive

Serious vs Playful

Reckless vs Cautious

Bold Flirting vs Shy Flirting

The MC starts with scores directly in the middle for all of these (50 on a scale of 100); however, I decided not to code for much in the way of "middle ground" behavior. This saves me tons of coding and tons of agonizing about what a middle-of-the-road response would be. So, if your MC's score is above "49" they default to the characteristic listed first, but lower than that, they default to the one listed second.

The only score that is treated differently is the one for flirting. To default to bold, the score needs to be below 40, so the character must show a fairly direct preference for boldness in this area. I did this since shyness is a fairly "safe" bet for this type of characteristic.

Number 4 does not come into play very often - yet. As things heat up, some actions that the player does not get to choose will be determined by their score in this stat. Currently, there are only a few options to choose what influences this score. It is possible to barely have any score for this stat one way or another. I'm going to be increasing the influence of this and probably adding some new ways to get points for this as I do some editing.

As for how I determine if something raises or lowers a stat in general, I try to use my best judgment to determine motivation when I design the choices that influence stats. To me, being reckless or cautious could be either intentional or not. I think the first time this stat comes into play is in Chapter 1 when MC decides if they are going to try to steal the honeycakes at the beginning. Trying to snatch one gives an increase to recklessness since it could be a naughty or impulsive decision.

I also wanted 1, 4, and 5 to be independent of one another since someone could be more outgoing but very timid when they flirt and cautious when they act. Outgoing/Reserved is another that needs some adjusting as well and will be tweaked in the future.

The others are more straightforward. If an action or speech choice is more kind/soft/mild/considerate, I label it "gentle." If it is more direct or even a bit aggressive, I label it "assertive." I kinda just have to use my own interpretation as best I can, and I know that to other people some of my options will feel flipped (occupational hazard, lol).

I have liked this system for the most part. It took a lot of working out when I got started. I was just learning so it was easily a solid week of me just hammering out what I understood and what worked. I have learned so much since then. I knew I wanted to keep things paired down to ease my own burden. Lots of stats can be so much fun in a game, but I just do not want to get too lost in it, so I keep my focus narrow.

Hope that helps, Nony! If you have follow-up questions, please feel free to let me know! ^_^

A side note, while we are on the subject...

For my next IF, I may play with a different way to set the MC personality. I may just have players pick at the beginning from either specific stats or like 4 or 5 MC archetypes. The wheels are still turning on this though, nothing is set!

[yossipossi]

SCP 8980 has been living rent free in my head, its awful/amazing How did you get so hauntingly in character with both her and him?

I can't say there's one hidden technique that makes you good at characterization, but I can give some tips that I generally employ.

Study how people in real life react and respond to various situations and stimuli. Watch people in public (in a non-invasive or creepy way, obviously) and see how they talk and behave. Read studies on how people act in particular situations. If you have specific situations, see if there's accounts online of what people who went through similar situations experienced.

Understand and encapsulate odd psychological phenomenon in your writing. For example, learn what cognitive dissonance is, figure out how people act when they lie, study how people fail to convey emotion and their emotional reaction to that failure. The list goes on, but learning these things intellectually too also helps you wield them like a weapon in writing.

Flesh your characters out. Know who your characters are and what they're doing. Add and remove and modify characters to perfectly fit the mold of your story, and then make sure they're consistent throughout it (accounting for character development and such). You don't need to know their favorite pizza topping, but you do need to know their deepest fears and why they feel them.

Empathize with your characters. Specifically, I mean know who they are and what they do. Whenever you write their dialogue, envision yourself in their shoes, in that circumstance, with their personal experiences and background, and then imagine what you'd say as them. Helped me quite a lot.

I hope these tips are helpful and I'm not just rambling incoherently.

[tarufai]

[vaggieslefteye]

CHARLIE MAGNE from HAZBIN HOTEL (2019): Pilot - "That's Entertainment" ↳ "So, I've been thinking: Isn't there a more humane way to hinder overpopulation here in Hell? Perhaps we can create an alternative way to change souls through... redemption?"