#and like saying one of his arguments does not have as much merit as it should

[cassandralexxx]

“I believe that to be human is to be better. Or, at least, to strive to be better."

- Julian Savulescu. New breeds of humans: the moral obligation to enhance

[stevethehairington]

Eddie doesn’t tell the Corroded Coffin guys about his relationship with Steve. Not at first.

He knows they wouldn’t bat an eye at the fact that he’s got a boyfriend; they’re cool like that. But telling them who his boyfriend is? They're cool enough to accept Eddie being gay, but dating a jock? Dating Steve Harrington? Eddie isn’t so sure how they’d react to that. 

So he keeps that little detail to himself.

Not too carefully, though, as it turns out.

Eddie shows up to Wednesday band practice with a new ring on. It’s big, just like most of his rings are, but it’s a whole different breed of gaudy, with a huge emerald gem right in the center and thick lettering circling it and embossed onto the sides.

Gareth is the first one to clock it for what it is.

They finished up their first run through of their latest track (something new about a totally badass warrior who's beaten and battered and bruised, but won't let that stop him from throwing himself intro the fray) that Eddie just finished penning the lyrics for, then broke for a quick break and some water. Eddie stands across from Gareth, right hand wrapped around a water bottle, new ring on display. Gareth is close enough that he can make out some of the smaller details now — a paw print, the word ‘Hawkins’ right above it — and then it clicks.

“Dude,” he says, smacking his hand into Eddie’s arm. “You got a class ring? Since fucking when?”

Eddie’s face seems to go through several emotions all at once — confusion, surprise, a brief flicker of panic. It smooths over pretty fast after that, settling into something much more controlled, something much more collected after.

He switches the bottle to his left hand and flattens his right in the air, admiring the ring for a moment. “Oh, this?” Eddie asks with a chuckle, flashing it towards Gareth and the boys (who have all perked up in interest and shuffled closer), too fast for any of them to really get a good look at it.

“Holy shit, that is a class ring, what the fuck, Eddie?” Archie asks, face twisting up.

Jeff looks surprised too, squinting at Eddie’s hand, curiosity painted across his features.

Eddie doesn’t deign any of them with an answer, just sort of shrugs and drops the water bottle, replacing it with his guitar. He twists at the tuning keys on the head of his baby, ignoring it as Gareth and Archie erupt into a flurried back and forth of reasons why in the hell Eddie would be wearing one of those monstrosities.

Jeff is the only one to jump to his defense. “It’s weird, sure, but, like, is it really that bad? I mean, he spent six years there, so what if he wants to, like, commemorate it or something?”

Gareth and Archie turn twin what the fuck looks on Jeff, who just shrugs.

He doesn’t look too convinced of his own argument either — which is pretty merited. Eddie getting a class ring goes against, like, everything he stands for. He’s pretty sure he’s ranted about how stupid class rings are. How pointless they are. Plus, those suckers are expensive as fuck and Eddie has plenty of other, more important things to put that money towards. All things considered, they have every reason to be suspicious of it.

They all turn back towards Eddie, looking for confirmation or contradiction, but Eddie doesn’t offer them either.

He just gives the ring another short look, shrugs, and says, “So are we gonna get back to playing or what?”

And that’s that.

Except it isn’t.

Because at some point Eddie must have been playing with the ring, and he must have slipped it off, must have spun it around, must have stuck it back on his finger with the other side exposed. The side with the “1985” on full display. Big and bold and hard to miss.

And, of course, they notice that.

“Does that say ‘1985’?” Gareth asks, eyebrows pulled together and mouth curved down into a confused frown.

“‘85? Eddie, dude, isn’t that the year that you were supposed to graduate the first time?” Archie asks, just as baffled.

Jeff elbows him. “No, that was ‘84,” he corrects. “But he didn’t graduate in ‘85 either.”

“So why the fuck do you have a class of 1985 ring then?” Gareth questions. It’s hard for him to look menacing with that floppy hair of his, but he crosses his arms over his chest and fixes demanding eyes on Eddie anyways.

Eddie, once again, does not answer any questions. In fact, the only acknowledgement he does give them is a very casual, very nonplussed “Oh? Does it?” when they keep pointing out that the ring boasts “1985” instead of “1986”.

It’s pretty amusing, actually, listening to them trying to figure it out. But none of them come close to the truth. And Eddie certainly isn’t going to be the one to hand that over to them.

It goes on like this for a few more practices. The mystery of who Eddie’s class ring actually belongs to (because the boys have decided that there is no way it actually is Eddie’s. Not with the 1985.) continues to plague Corroded Coffin — before practice starts, during their breaks, in the aftermath of their jam sessions.

Eddie doesn’t stop wearing the ring, despite it, though. And he always finds a way to change the subject when Gareth, Jeff, and Archie bring it up, or he gives them stupid nonanswers instead that make them huff and puff.

It all comes to a head one day when practice is getting close to ending and a familiar maroon Beemer pulls up outside of Gareth’s garage. The engine cuts, and then out pops none other than Steve goddamn Harrington himself. 

The boys are vaguely aware that Eddie is on friendly terms with Steve, but they don’t know the full extent of it. They don’t know how deep it actually runs. And they certainly don’t know that they’ve been dating for the better part of four months now.

It’s almost funny how they didn’t even think to make that connection.

Until now.

Until Steve Harrington saunters his way up Gareth’s driveway and stops in the mouth of the garage, arms crossed loosely over his chest, head bobbing along like he’s actually enjoying the noise they’re making. There’s a certain look on his face, in his eyes — something pleased, something contented, something unbearably soft, as he watches them jamming out. As he watches Eddie jamming out.

They’re in the middle of a song, and everyone’s sort of lost in their instruments, lost in the music — except for Gareth. He spots Steve first. He sees that look on his face, follows his eyes to find them glued to Eddie. Observes for a few seconds, and watches as Steve’s stare doesn’t waver once.

He only has eyes for Eddie.

And that’s when it clicks.

Gareth’s hands stop moving, the drumbeat cutting off as his sticks just hover and he stares, slack-jawed. 

It takes a couple of seconds for the others to notice that Gareth stopped playing, and when they do they stop too and turn on him.

“Gareth, the fuck, dude?” Archie says, throwing his arms out.

“Everything good, man?” Jeff asks.

“Class of ‘85,” Gareth says, dumbfounded, finally pulling his eyes away from Steve to fix them on Eddie, who freezes in the middle of making googly eyes at Steve and slowly turns to meet Gareth's gaze. "No fucking way."

Eddie offers Gareth a sheepish, lopsided smile and a one shouldered shrug. "Surprise?"

[respected-coconut]

Crazy how so many feminist readings of Frankenstein are consistently so heteronormative and lowkey sexist in it of themselves.

Like, the whole “the women of Frankenstein are boring and docile” argument, while has its amount of merit, feels more like an excuse to just further ignore and over-generalize the women in the book instead of actually trying to analyze them. Elizabeth especially is the main victim of this reading because she’s always read as the subservient woman that doesn’t have much say in the book, yet one of her most defining instances is her standing up for Justine in front of a court of law when others were too frightened to.

She literally dropped “They call this retribution. Hateful name! When that word is pronounced, I know greater and more horrid punishments are going to be inflicted than the gloomiest tyrant has ever invented to satiate his utmost revenge” and people still want to dumb her down and define her solely through her “reliance on men”.

And the whole “Victor usurped the biological/feminine power of women to give birth.” I’m sorry, but I kinda really hate this reading so bad. Not only does it read as incredibly transphobic, but at the same time it further pushes the idea that the only power/purpose a woman has is to give birth. How can you condemn Elizabeth for being “docile and subservient to men” but then turn around and say she and women are powerful through their ability to give birth and be mothers/wives? Does that imply Victor should’ve just married and impregnated his sister/cousin? Would that have “preserved Elizabeth’s power”? because it seems to me her marriage to Victor destroyed whatever power or autonomy she had. And what about how Mary Shelley herself was struggling with pregnancies and childbirth before and while writing Frankenstein? Was she a weaker woman for not being able to give birth properly?

The women in Frankenstein are obviously less active than the men, and that is a point to be made, but at the same time, we do such a disservice by making broad and disconnected assertions without actually giving the women the time of day for what they do do.

Can we talk about how Elizabeth was groomed into the role of a mother/bride since she was four? How she had dreams and wanted to “people [the world] with imaginations of her own”? How she lost hope in those dreams following the wrongful execution of her “more than sister”? What about how Caroline Frankenstein haunts the whole narrative; how her death influences Victor’s obsession with the dead and how she forced her children into an incestuous, (mutually) non-consensual relationship? Why is it so common that people will read Justine’s existence as solely a character to bring Victor guilt rather than looking deeper into how her conviction and execution affected Elizabeth’s perception of the world? Why is there so much focus placed on what these women aren’t instead of what they are?

Ok sorry for the messy ranting. Just had a burst of energy. As usual, I’m sorry for coming off as hostile and kinda confusing but at the same time I’m just a bit frustrated with the common interpretations of Frankenstein and wanted to yap. Feel free to add more ideas, I like talking abt this kinda stuff.

[sneezypeasy]

Why I Deliberately Avoided the "Colonizer" Argument in my Zutara Thesis - and Why I'll Continue to Avoid it Forever

This is a question that occasionally comes up under my Zutara video essay, because somehow in 2 hours worth of content I still didn't manage to address everything (lol.) But this argument specifically is one I made a point of avoiding entirely, and there are some slightly complicated reasons behind that. I figure I'll write them all out here.

From a surface-level perspective, Zuko's whole arc, his raison d'etre, is to be a de-colonizer. Zuko's redemption arc is kinda all about being a de-colonizer, and his redemption arc is probably like the most talked about plot point of ATLA, so from a basic media literacy standpoint, the whole argument is unsound in the first place, and on that basis alone I find it childish to even entertain as an argument worth engaging with, to be honest.

(At least one person in my comments pointed out that if any ship's "political implications" are problematic in some way, it really ought to be Maiko, as Mai herself is never shown or suggested to be a strong candidate for being a de-colonizing co-ruler alongside Zuko. If anything her attitudes towards lording over servants/underlings would make her… a less than suitable choice for this role, but I digress.)

But the reason I avoided rebutting this particular argument in my video goes deeper than that. From what I've observed of fandom discourse, I find that the colonizer argument is usually an attempt to smear the ship as "problematic" - i.e., this ship is an immoral dynamic, which would make it problematic to depict as canon (and by extension, if you ship it regardless, you're probably problematic yourself.)

And here is where I end up taking a stand that differentiates me from the more authoritarian sectors of fandom.

I'm not here to be the fandom morality police. When it comes to lit crit, I'm really just here to talk about good vs. bad writing. (And when I say "good", I mean structurally sound, thematically cohesive, etc; works that are well-written - I don't mean works that are morally virtuous. More on this in a minute.) So the whole colonizer angle isn't something I'm interested in discussing, for the same reason that I actually avoided discussing Katara "mothering" Aang or the "problematic" aspects of the Kataang ship (such as how he kissed her twice without her consent). My whole entire sections on "Kataang bad" or "Maiko bad" in my 2 hour video was specifically, "how are they written in a way that did a disservice to the story", and "how making them false leads would have created valuable meaning". I deliberately avoided making an argument that consisted purely of, "here's how Kataang/Maiko toxic and Zutara wholesome, hence Zutara superiority, the end".

Why am I not willing to be the fandom morality police? Two reasons:

I don't really have a refined take on these subjects anyway. Unless a piece of literature or art happens to touch on a particular issue that resonates with me personally, the moral value of art is something that doesn't usually spark my interest, so I rarely have much to say on it to begin with. On the whole "colonizer ship" subject specifically, other people who have more passion and knowledge than me on the topic can (and have) put their arguments into words far better than I ever could. I'm more than happy to defer to their take(s), because honestly, they can do these subjects justice in a way I can't. Passing the mic over to someone else is the most responsible thing I can do here, lol. But more importantly:

I reject the conflation of literary merit with moral virtue. It is my opinion that a good story well-told is not always, and does not have to be, a story free from moral vices/questionable themes. In my opinion, there are good problematic stories and bad "pure" stories and literally everything in between. To go one step further, I believe that there are ways that a romance can come off "icky", and then there are ways that it might actually be bad for the story, and meming/shitposting aside, the fact that these two things don't always neatly align is not only a truth I recognise about art but also one of those truths that makes art incredibly interesting to me! So on the one hand, I don't think it is either fair or accurate to conflate literary "goodness" with moral "goodness". On a more serious note, I not only find this type of conflation unfair/inaccurate, I also find it potentially dangerous - and this is why I am really critical of this mindset beyond just disagreeing with it factually. What I see is that people who espouse this rhetoric tend to encourage (or even personally engage in) wilful blindness one way or the other, because ultimately, viewing art through these lens ends up boxing all art into either "morally permissible" or "morally impermissible" categories, and shames anyone enjoying art in the "morally impermissible" box. Unfortunately, I see a lot of people responding to this by A) making excuses for art that they guiltily love despite its problematic elements and/or B) denying the value of any art that they are unable to defend as free from moral wickedness.

Now, I'm not saying that media shouldn't be critiqued on its moral virtue. I actually think morally critiquing art has its place, and assuming it's being done in good faith, it absolutely should be done, and probably even more often than it is now.

Because here's the truth: Sometimes, a story can be really good. Sometimes, you can have a genuinely amazing story with well developed characters and powerful themes that resonate deeply with anyone who reads it. Sometimes, a story can be all of these things - and still be problematic.*

(Or, sometimes a story can be all of those things, and still be written by a problematic author.)

That's why I say, when people conflate moral art with good art, they become blind to the possibility that the art they like being potentially immoral (or vice versa). If only "bad art" is immoral, how can the art that tells the story hitting all the right beats and with perfect rhythm and emotional depth, be ever problematic?

(And how can the art I love, be ever problematic?)

This is why I reject the idea that literary merit = moral virtue (or vice versa) - because I do care about holding art accountable. Even the art that is "good art". Actually, especially the art that is "good art". Especially the art that is well loved and respected and appreciated. The failure to distinguish literary critique from moral critique bothers me on a personal level because I think that conflating the two results in the detriment of both - the latter being the most concerning to me, actually.

So while I respect the inherent value of moral criticism, I'm really not a fan of any argument that presents moral criticism as equivalent to literary criticism, and I will call that out when I see it. And from what I've observed, a lot of the "but Zutara is a colonizer ship" tries to do exactly that, which is why I find it a dishonest and frankly harmful media analysis framework to begin with.

But even when it is done in good faith, moral criticism of art is also just something I personally am neither interested nor good at talking about, and I prefer to talk about the things that I am interested and good at talking about.

(And some people are genuinely good at tackling the moral side of things! I mean, I for one really enjoyed Lindsay Ellis's take on Rent contextualising it within the broader political landscape at the time to show how it's not the progressive queer story it might otherwise appear to be. Moral critique has value, and has its place, and there are definitely circumstances where it can lead to societal progress. Just because I'm not personally interested in addressing it doesn't mean nobody else can do it let alone that nobody else should do it, but also, just because it can and should be done, doesn't mean that it's the only "one true way" to approach lit crit by anyone ever. You know, sometimes... two things… can be true… at once?)

Anyway, if anyone reading this far has recognised that this is basically a variant of the proship vs. antiship debate, you're right, it is. And on that note, I'm just going to leave some links here. I've said about as much as I'm willing/able to say on this subject, but in case anyone is interested in delving deeper into the philosophy behind my convictions, including why I believe leftist authoritarian rhetoric is harmful, and why the whole "but it would be problematic in real life" is an anti-ship argument that doesn't always hold up to scrutiny, I highly recommend these posts/threads:

In general this blog is pretty solid; I agree with almost all of their takes - though they focus more specifically on fanfic/fanart than mainstream media, and I think quite a lot of their arguments are at least somewhat appropriate to extrapolate to mainstream media as well.

I also strongly recommend Bob Altemeyer's book "The Authoritarians" which the author, a verified giga chad, actually made free to download as a pdf, here. His work focuses primarily on right-wing authoritarians, but a lot of his research and conclusions are, you guessed it, applicable to left-wing authoritarians also.

And if you're an anti yourself, welp, you won't find support from me here. This is not an anti-ship safe space, sorrynotsorry 👆

In conclusion, honestly any "but Zutara is problematic" argument is one I'm likely to consider unsound to begin with, let alone the "Zutara is a colonizer ship" argument - but even if it wasn't, it's not something I'm interested in discussing, even if I recognise there are contexts where these discussions have value. I resent the idea that just because I have refined opinions on one aspect of a discussion means I must have (and be willing to preach) refined opinions on all aspects of said discussion. (I don't mean to sound reproachful here - actually the vast majority of the comments I get on my video/tumblr are really sweet and respectful, but I do get a handful of silly comments here and there and I'm at the point where I do feel like this is something worth saying.) Anyway, I'm quite happy to defer to other analysts who have the passion and knowledge to give complicated topics the justice they deserve. All I request is that care is taken not to conflate literary criticism with moral criticism to the detriment of both - and I think it's important to acknowledge when that is indeed happening. And respectfully, don't expect me to give my own take on the matter when other people are already willing and able to put their thoughts into words so much better than me. Peace ✌

*P.S. This works for real life too, by the way. There are people out there who are genuinely not only charming and likeable, but also generous, charitable and warm to the vast majority of the people they know. They may also be amazing at their work, and if they have a job that involves saving lives like firefighting or surgery or w.e, they may even be the reason dozens of people are still alive today. They may honestly do a lot of things you'd have to concede are "good" deeds.

They may be all of these things, and still be someone's abuser. 🙃

Two things can be true at once. It's important never to forget that.

[cringefail-clown]

Jakehal is very fun. But why dirkkri? I dont understand what's appealing about it :? confused

theres a lot of things i like about dirkri and honestly i dont even know where to start lmfao

first of all, and its mostly a funny reason - davekat on crack. like some traces of davekat are still there - the arguing about shit, stoic facade vs emotional mess, all the good stuff, but its also so much more exaggerated it makes it this much more ridiculous. gets even better when you consider them under the lense of swap aus like alphaswitch or tbau, where they land on the meteor together. theyre most likely hunting each other for sports by the year two

second of all, the funney. theyd be so fucking funny together. their smallest arguments would take like twenty pages of non-stop flow of red-orange text to resolve, and not because they came to a consensus but because some third party physically dragged them away from their electronics. it doesnt do any good, since it only gives them both time to think over new arguments to use, and theyre back at it as soon as they get their phones back. like if we had a tournament about which ship would do the most collateral damage to the overall group, i think these two would be Up There. karkat would gauge his eyes out from frustration, because now not only does he have to deal with his piece of shit, know-it-all other self, but now theres also Fucking Dirk thrown into the mix. their home life is absolute insanity, a small jab about the other forgetting to buy sugar once again devolves into a screaming match about the merits and flaws of communism or some other inane shit. and theyre doing it for fun, they enjoy debating with each other, because often times they have vastly different opinions, and comparing their beliefs challenges them intelectually and morally. from the outside perspective theyre one of the most dysfunctional pair in the paradox space, when in fact thats simply how they want their relationship to be, and it makes them better people overall.

third reason is that theyre thematically delicious. dirk is a control freak, micromanaging his and his friends constantly. hes terrified of losing control, but hes also desperate for someone to just tell him what the fuck he should do. dirk doesnt think he should be in control of others, because he believes hes a naturally evil person capable of horrible acts, at the same time he doesnt trust anyone else to get things done but himself. hes a whole collection of contradictions.

kankri desperately needs to be in control as well. hes constantly injecting himself into conversations he has no business being in, trying to find someone thatd listen to what he has to say. hes wants to guide others, but his efforts are flawed, because he doesnt listen to other perspectives - hes got tunnel vision, as he thinks hes the one in the right while everyone else is wrong or ignorant (cringefail seer literally). he doesnt trust anyone else to make decisions for him, and becomes defensive when he thinks others are attempting to coddle him. his ass was definitely culled on beforus.

theyre also both so fucking lonely. dirk conciously tries to put difference between himself and his friends, worrying hell "corrupt" them. kankri tries to connect to his friends, but his behavior alienates him from them to the point of no one except maybe porrim want to have anything to do with him.

my point is, kankri wants to guide people but has to learn to listen to others and reflect on his own flawed opinions. dirk has to learn to trust that people closest to him can get shit done on their own and loosen up, as well as realise hes not evil at the core. them helping each other out - dirk teaching kankri about different perspectives, kankri teaching dirk about letting others do their thing - is something i think about a lot.

also i like to think theyd spar for fun a lot as well. its not really a reason and wholly my own personal headcanon but i wanna mention it as well bc its so funny to me. i like the idea of kankris behaviour being a complete reverse of karkat - where karkat is all bark no bite and doesnt like fighting or violence, kankri puts up a front of the beacon of love and peace and tolerance, but in his free time he gets his rifle and goes shooting at the fucking squirrels or some shit. i think he wouldnt have the same qualms about strifing as karkat. like dirk would try to jokingly jab his finger at kankris side and he would just fucking flip him over his shoulder and onto the table breaking it in half, because he doesnt like being touched unexpectedly and by gods dirk when will you fucking learn. he goes from 0 to 100 real fast. its such a hysterical concept for me.

[thekingofwinterblog]

The Importance of Banter: Varric Tethras

So one of the more interesting takes I've gotten on my breakdowns of Dragon Age characters is the argument that Varric in terms of character development is one of the lesser characters in the game.

He stays the same, doesn't change much from beginning to end, and while enjoyable, his inclusion doesn't add nearly as much as some of the other characters in the game, and relies way too much on the goodwill from da2 to do most of the legwork for his inclusion in the game.

Now this isn't an argument without merit, I might agree a lot with this take... If it wasn't for the inclusion of one Dragon Age's staples, and one of the aspects that Inquisition arguably does better than ether ADO or DA2.

Character Banter.

Character Banter is extremely important because it gives us an insight into how characters think, how they interact, and showcases the more subtle elements that aren't always on display in the game itself.

Compared to the rest of the Characters, Varric is a bit different in that because he was a companion in the previous game, we can see how he's changed since the previous game.

Cassandra Pentaghast

So it's not an exaggeration to say that Cassandra and Varric has what is easily the most dynamic relationahip between any of the companions, having far and away the most interactions together out of party(And thats not even including the fact that all of DA2 is technically them talking to each other.

And this is reflected in their banter as well, where the two of them go back and forth like a married couple.

The thing that most be understood about Cassandra and Varric's banter though, is the fact that Varric is way, way smarter than Cassandra, who isn't dumb, but is not a genius by any stretch, which is reflected in the Dwarf's tendency to run rings around her all the time.

Cassandra: Have you heard from any of your Kirkwall associates Varric?

Varric: You're asking me? So you don't read my letters?

Cassandra: You're no longer my prisoner, much as you like to act like it.

Varric: Yet I still get all the suspicion.

Cassandra: I am not without sympathy, especially given recent events.

Varric: Why, Seeker, I would never accuse you of having sympathy! By the way I tend to refer to my "associates" as "friends". Maybe you're not familiar with the concept.

Cassandra: (sigh)

---

Varric: You know, Seeker, for someone with your tact and charisma you assembled a... pretty good little Inquisition. I'm giving you the benefit of the doubt and assuming you didn't drag them all here by force.

Cassandra: How kind of you.

Varric: I mean, you never know, you could have kidnapped Ruffles and she'd be too polite to say anything.

Cassandra: Leliana recruited Josephine. They're... friends.

Varric: So there's a rational explanation after all. Just when I thought you had layers.

---

Varric: It makes sense that Leliana did the recruiting when the Inquisition started. Not everyone can be intimidated into signing up after all.

Cassandra: I recruited Commander Cullen.

Varric: Lucky him.

Cassandra: He has made no complaints about my manners.

Varric: His last boss was a raving lunatic who turned into a statue. That's not a high bar.

All of these three bits of banter is from early in their shared chain, and illustrates their dynamic very, very well. Varric reads Cassandra like an open book, and is able to completely take control over a situation just by playing the role of the ass who is just sniping at her because he feels like it, when what he's actually doing is maneuvering the conversation so it can end on him having the last words by playing on the things Cassandra knows she cannot refute without lying.

That takes a lot of sponanous wit and an ability to think on the spot, something cassandra does not possess, but Varric has in plenty.

Of course this dynamic is only at the start as they have plenty more as the story develops. One innparticular is their relationship regarding Varric's liturature, which is one of the more entertaining side quests in the game, but it does tell us more about them in the followup banter.

Varric: Seriously? Swords and Shields? How did you find that serial? Scrape it off the bottom of a barrel in Dust Town?

Cassandra: It was research! I thought I might learn more about the Champion.

Varric: I did write a book about the Champion. You might remember it. Had your knife stuck through it last I saw.

Cassandra: I already read that one. Twice.

Here we learn how much Cassandra actually loves to read Varric's work, but more importantly we get something we rarely see in Varric. Him talking about his own failures.

Varric likes to pretend he's this amazing writer who always produce masterpieces, as he himself says to Bianca, as if he'd write about his own failures and mistakes...

And yet there is swords and shields, a book that Varric has deemed an abyssmal failure. A joke, a mediocre piece of trash not worth the paper it was printed on... And yet it has it's fans. This work that varric despises still managed to find an audience, and despite how much satisfaction he had smugly giving it to Cassandra, that still grinds his gears.

People shouldn't like his bad work. It should be forgotten in favor of his masterpieces. A very dwarven way of thinking.

Varric: I can't believe you picked the absolute worst of my books to read. Why not Hard in Hightown?

Cassandra: I have enough mysteries and investigations of my own.

Varric: What? You don't want to solve more in your spare time?

Cassandra: Then you killed my favorite character in Chapter 3, so I threw the book across the room.

Varric: Ah, a critic. Say no more.

In this one, we get Varric both genuinely questioning Cassandra, as he seems to have assumed she actually does like investigating mysteries(she does not), but also tries to nudge her over to read High in Hightown instead.

Cassandra: Varric, how could you let the Knight-Captain be framed for murder?

Varric: Well, I did spent three entire chapters setting it up.

Cassandra: But she didn't deserve it! You'd already put her through more than enough!

Varric: Look, Seeker, if you love a character, you give them pain, ruin their lives, make them suffer. Maybe even throw in a heroic death.

Cassandra: That makes no sense!

Varric: You care enough to argue. If she had a nice afternoon and took a nap, you'd stop reading.

I could deconstruct this, but basically it's just a bit of meta commentary on what makes a good story. Not only will it not be the last, but it's not even the most blatant. After all, this one could apply to other people besides Hawke.

Cassandra: What made you write about Hawke? All your other books are complete fiction.

Varric: Someone had to set the record straight about the Champion.

Cassandra: Yet your book is still full of lies.

Varric: But true ones. That's important.

Varric loves stories... But he understands what stories are at their heart. The difference between a Recounting, and a Tale. That's what history is after all, the Tales everyone passed down.

And what good tale doesn't have a bit of exaggerated bullshit?

Cassandra: Why is the second Hard in Hightown so completely different from the first?

Varric: (sigh) Because I didn't write it. Shit, did you pay actual coin for that book? One of these days, I'm going to find the duster who wrote that garbage and introduce him to my editor.

Cassandra: By "editor," do you mean your crossbow?

Varric: No, my actual editor. Best in the business. She runs half the Coterie in Kirkwall. Stickler for grammar. She once killed a man over a semicolon. I'd never print anything without her.

This one is more meta commentary, but it does have a bit more meat to it. Varric's whole spiel about his editor being super powerful in the Coterie could be the truth, it could be complete bullshit. Or it could be something in between.

That's not the important part. The important part is that he wants Cassandra to guess, to assume, to speculate, because that is far more powerful than just laying it all out could ever be.

Cole: She has to reach the other side of the hill.

Cassandra: Who does?

Cole: The Knight-Captain. But she's injured.

Varric: (sigh) Good job, Kid.

Cassandra: Is she alright? Is that how the book ends?

Varric: Not anymore.

Cassandra: Cole, what happens to her?

Cole: I don't know. The hill went away.

So here we see that Varric is one of THOSE authors. You know the kind, the ones who will rewrite an entire storyline because the big twists was leaked ahead of time.

It's not that important in the grand scheme of things, but it's interesting how through the game we see a very consistent picture of how Varric likes to write. He's a gardner variety writer, but unlike GRRM he's not the kind thst sticks to what he had in mind and sets up if the big twist is learned before it's finished.

As for His banter with Cassandra related to Hawke, it's entertaining, but not exactly that enlightening. Except for one.

If you chose in DA2 to save carver or Bethany by making them grey wardens, you get this bit when Cassandra Questions him about them.

Varric: Aveline took him off somewhere when the Calling started going nuts, but he'll tag along. He always does.

Varric: Aveline took her off somewhere when the Calling started going nuts, but she'll try to keep Hawke out of trouble.

Cassandra misses the obvious, but you probably didn't.

Varric knew about the calling from the start. Oh he didn't know the details, and he didn't know why... But he knew there was something up with the calling from the very start, and probably figured out this was the key reason from day one.

And he didn't share it. At all.

That speaks volumes of where his true loyalties lies, and it's something a lot of people miss.

Cassandra is right. Varric's heart will never truly belong to the Inquisition so long as Hawke and his Kirkwall friends exists outside of it.

There is also a turning point in their conversations, starting around the point where Varric's personal quest with Bianca happened.

Cassandra: Am I to understand your Bianca is married?

Varric: Oh, have we reached the stage where we gossip about each other's love lives?

Varric: Did you hear that, boss? Don't worry, I'll tell you whatever she says.

Cassandra: Forget I mentioned anything. It was a simple question, Varric.

Varric: There was nothing simple about it.

Varric actually blatantly questions wheter they've reached the point where they are now talking about each others love with each other. The truth is though, they actually have.

Varric: You brought up Bianca, Seeker. Does that mean I can ask about your conquests?

Cassandra: I would rather you didn't.

Varric: No tantalizing secrets to divulge?

Cassandra: None.

(If the Inquisitor is in a relationship with Cassandra)

Varric: So no one within, say, a five foot radius has caught your eye?

Inquisitor: Really? No one at all?

Cassandra: This... is not a discussion I want to have here.

Varric: (laughs) Are you blushing, Seeker? Maker, the world really is coming to an end.

Or

Inquisitor: Perhaps Cassandra—and her conquest—would rather not discuss this in public.

Varric: Spoilsport.

Or

Varric: Nothing? You do know he's standing right there...

Cassandra: I... have no conquests.

Varric: How about dalliances? Liaisons? Illicit affairs?

Cassandra: No.

Sera: Enough poking, Varric.

Varric: Is it, Buttercup? Is it?

It a rather humorous affair, but it does show that Varric at this point is comfortable prodding Cassandra's love life, figuring out how far he can push.

Which speaks for itself at how close these two have gotten at this point.

Cassandra: Very well, Varric. If you wish to know about men I have known, I will tell you.

Varric: Look, Seeker. I was only...

Cassandra: You are right. I pried first, and fair is fair. Years ago, I knew a young mage named Regalyan. He was dashing, unlike any man I'd met. He died at the Conclave.

Varric: Oh.

Cassandra: What we had was fleeting. And years had passed. Still, it saddens me to think he's gone.

Varric: I'm sorry.

Nothing to add here, just that Varric sorta gets sad when he realizes that was friendly prodding touched a very bitter and sad point from Cassandra's pain.

For which he apologizes.

Varric: Look, Seeker, I didn't mean to make you talk about your mage friend.

Cassandra: I know. I was not trying to make you speak of Bianca. If I was, you would know. I would yell, books would be stabbed.

Varric: (Chuckles.) I'll keep that in mind.

Also as the game reaches the end section, Varric and Cassandra begin to really banter in a much more friendly way.

Cassandra: I still don't understand how drakes take that hand.

Varric: ...Hmm. Maybe we should start you on Shepherd's Six.

Cassandra: Isn't that a children's game?

Varric: Yeah.

When trying to teach Cassandra card games at this point in the story, Varric has the perfect set up for a punchline like he did in the early game, but he doesn't use it, because he isn't mocking cassandra here, he's genuinely trying to teach her how to play cards.

And so he suggest starting her off with something simple, like a card game for children, cause he understands thats where she has to start at her level.

There are plenty more, but most of it is just well written, engaging or funny back and forths. But before moving on, i wanna highlight two of them.

Varric: Did you really think the Conclave had a chance of making peace, Seeker?

Cassandra: You do not?

Varric: What was the Divine's plan? Bring everyone together and hope really hard that they would all get along?

Cassandra: Most Holy did not confide her plan to me. Perhaps she thought they were tired of death and conflict.

Varric: Oh, when is that ever been true? For Templars or mages.

Cassandra: I will not mock a dead woman, Varric. She did what she could, and that is more than most.

This conversation is very important for one simple reason. It showcases how much Varric has changed since DA2. Varric used to be one of the big believers in compromise in that game. He didn't come out and say it out right, because in that game the Templar far and away were the more evil faction, and so there was way more chances for Varric to stick up for mages, but Varric really, REALLY didn't want the mages and Templars to go to war.

He had so many friends in both factions, friends he knew would die if it ever did come to true blows.

I would say that varric was probably the best example of what neutrality in such a situation should have been. Someone who is neutral because he understood thst fundamentally, both sides even at their worst, were people. Not demons, not monsters, but human beings or elves. But unlike many others who clamor for neutrality, Varric wasn't stuck up his own ass about it.

If he saw one side go over the ljne, regardless of which it was, he would not just stand by wheter it was power hungry necromantic blood mages, or Templars like Ser Alrik.

But here, he mocks the very idea of neutrality. He has completely given up on it, and he's accepted that the only solution here, is for one side or the other will have to decisively crush the opposition.

Of course he doesnt come out and say it like that, but that's the message to take away here. So long as there is a templar or mage on the field, this war will continue. He doesn't like that fact, but he has accepted it.

Cassandra: I hear reconstruction is progressing well in Kirkwall.

Varric: I know things are bad there.

Cassandra: I wasn't trying to...

Varric: You weren't trying to remind me how bad is it in Kirkwall? So you decided to talk about it?

Cassandra: About its recovery!

Varric: What you're talking about are the buildings, and even that will take years. People don't recover so easily.

Kirkwall, that is to say, the Kirkwall Varric was born in, grew up in, and spent the happiest years of his life(When he was running there with Hawke), is dead and gone, and never coming back.

He is never getting it back.

Which will be very important for the next companion's banter.

Blackwall

Blackwall is different than the rest of the crew in that he's utterly reliant on the Banter to have any sort of presence. He has no charisma in the actual game, but he does showcase a much more entertaining character in banter.

In regards to Varric though, his mian purpose is to showcase aspects of Varric we don't often see.

One of the most important comes very, very early into their relationship.

Blackwall: I once met a dwarf who made the best home-brewed ale.

Varric: I once met a Grey Warden who got possessed by a spirit and then blew up a Chantry and killed a hundred people. What makes people think you want to hear what others of "your kind" have done, anyway?

This is a moment that is:

1. Very uncharacteristic of Varric, who usually loves talking about other people if he gets any excuse to do so, and will be demonstrated in a very similar moment in his banter with the Iron Bull, only with a different reaction.

2. It's here to showcase Varric's hatred for Anders. Other than Sebastian, Varric misses pretty much the entire DA2 cast, his true best friends... Except for Anders.

Varric LOATHES Anders for his actions, for kickstarting the Mage Templar War and getting lots of his friends killed, but also for destroying his home and making his own worst fear come true.

Varric's biggest fear as shown in the fade is becoming his parents... And that's exactly what he has become in DAI. The depressed exile from a home city that he can never return to, and if he does, it won't be the same life they miss so dearly. Varric misses Kirkwall. He misses it's people, the Hanged man, and always thinking back on the glory days of his life.

And he misses Hawke.

All lost to him and never coming back, all thanks to Anders. Varric can never return back to that time, that place, that era, that friend group that was the highpoint of Varric's life, because the city of Champion Hawke and Varric the sidekick is as dead and gone as his parents.

The hanged man will never be the same, Hawke will never be the revered Hero they were after act 2, and every single one of the countless friends that Varric misses will not come back.

And so he hates Anders with a level of hatred he reserves for very, very few people.

The rest of Varric's starting relationship with Blackwall is about him trying to figure out what makes him tick, innitially pegging him as another Sebastian. Boring, safe, droll.

He also has more banter where he shows how depressed he actually is about Kirkwall.

Blackwall: I've been to Kirkwall. The Hanged Man, actually, probably been twenty years now. It was a dive if I remember correctly.

Varric: It's the dive. Filled with the best and worst people in the world.

Blackwall: Yes, I heard it was a haunt of yours.

Varric: Haunt? It was home.

He finally clicks with Blackwall, as they get into a shared passion nobody else in the party has. Jousting. The sport consistent of knocking people of horses with pointy sticks.

As a Free Marcher Varric has grown up with the Grand Tourney as a focal point of his identity, and loves the sport, so he and Blackwall bonds and argues over the sport, with the most notable part being their disagreements over who is the better jousting knight, where he also gives his own cents in the form of a meta commentary between who is the better protagonist, the Hero of Ferelden or Hawke.

Blackwall: You can't really think Reeve Asa is a better knight than Honorine Chastain. Her record's flawless. Four hundred jousts, never unseated. No one's ever come close to it.

Varric: Oh, she's easily the most skilled. That's a fact. It's just "scrappy" is better than "flawless." I like heroes who try their damnedest, even if they fail a lot. It's easy to be valiant when you always win and everything goes your way. There's nothing great in that.

The rather unsubtle meta message here, is comparing the protagonists of the first games.

The warden is the stronger, more skilled and more competent protagonist who ultimately always triumphed, changed the world, and became heralded far and wide as the greatest hero of her age.

Meanwhile Hawke is the scrappy underdog hero who always gets back on their feet regardless of how hard they fall, and never actually suceeds in anything. Hawke is a failure Hero who couldn't save their mother, their city, at least one of their siblings, maybe two, Ketojan, couldn't prevent the Qunari attack, and constantly failed to save the day through DA2.

Now i don't really agree with this rather simplistic reading of the Warden, but it's a good scene, because it shows that Varric is more than capable of overlooking all the work, effort and time it takes to produce a "perfect" result, as well as show that Varric has a very hard preference for underdogs, and the stories they produce.

Which leads into his reaction when Blackwall confesses his sins.

Varric: Maybe I've been too hard on you.

Blackwall: Oh, so you don't think I'm dreadful now.

Varric: Actually, I thought you were boring before. Completely different. We're all dreadful. Every one of us, fundamentally flawed in a hundred different ways. That's why we're here, isn't it? Take all the risks, so the good people stay home where it's safe. With the whole "Blackwall" thing, you told a story so compelling even you started to believe it.

Blackwall: That's much nicer than saying "You're a dirty liar.", I'll take it.

Varric: A story-teller's got to believe his own story, or no one will.

Here we can gleam a sad fact. Varric very pointedly notes "we're all dreadfull", as Us, as in, him included.

Varric doesn't really consider himself a good person anymore, if he ever did.

It's not like the Varric of Yesteryear considered hinself a saint or some knight in shining armor, but there was a sense that he was happy with himself during that game, in a way he is not in DAI.

Something has changed, and that something is guilt over unleashing the red lyrium on the world, and probably guilt over killing his own friends.

It's not really focused on as much as it should be, but Varric had plenty of friends amongst both the mages and Templars... Which meant that when Anders blew up the chantry, regardless of which side you picked, Varric was forced to kill people who genuinely mattered to him.

Hence why he's so quick to forgive Blackwall for his lies.

For the most part this generally manifests itself in regards to Red Lyrium, which he blames himself for bringing into the world. I would argue that the more subtle parts you get to see in Banter though, is far, far more interesting and better told than the stuff in the main quest.

Because despite his flaws he "takes all the risks, so the good people won't have to.", just like Varric and Hawke.

This is in large amount what Varric in Inquisition is for the most part all about. Guilt, self loathing, and wanting to be a better person.

He just masks it with his usual wit, charm and charisma.

Kinda like Blackwall, only he doesn't really have much charisma or wit to hide behind. Hence why he is so accepting of, and willing to give him another chance without question.

On a final note before we move on from Blackwall, we also get to see varric try to play matchmaker between Blackwall and Josephine which is cute, but not exactly surprising, or give us further insight into Varric's character.

Cole

Now, I'm not going to cover Cole here, not because the banter isn't interesting, or we don't learn anything, but that's all from the way we learn about the world, or Cole himself.

Varric's side of these banters can be summed up in one sentence, for pretty much every single banter.

Varric is Cole's dad.

Rinse, repeat.

Dorian

Similarily, I will not be covering the banter with dorian, not because it's bad, far from it, it's some of the most entertaining in the game, but it doesn't exactly add much beyond the fact that both Varric and Dorian love to gamble, and share witty banter.

Also nugs has some creepy ass feet. The stuff of nightmares.

The Iron Bull

Far more to be dissected, can be found in Varric's banter with the Iron Bull.

There is so much to learn from this banter, from Spy work to how the Antaam is viewed by the other Qunari and so on, but we'll focus on the stuff relating to varric, as he and bull talk about a lot of things.

Varric: You're not the first Ben-Hassrath I've run across. Hawke and I went on a caper with one named Tallis.

Iron Bull: You don't say.

Varric: She caused us no end of trouble. You wouldn't know her by any chance?

Iron Bull: Hey, one time I ran into this dwarf on the road. Short, grouchy. You think you might know him?

Varric: I'm in the Merchant Guild. Ten royals says I not only know him—he owes me money.

Iron Bull: Oh. Well... no. I don't know Tallis. Sorry.

In stark contrast to his talk with Iron bull, when not involving Anders or other people he hates, Varric loves to talk about people. To the point that in his comeback to Iron Bull, there is an invitation here for Bull to specify who this random dwarf was, because chances are, he actually might know him, and could elaborate on the guy.

Varric: How could you possibly be a spy?

Iron Bull: Well, it's a pretty easy job. I do some fighting, and drinking, and then once in a while I tell Par Vollen about it.

Varric: Heh. Where's the sneaking, the plotting, the subtle machinations?

Iron Bull: If you do that, everyone knows you're a spy. Drinking, fighting, writing notes, that's all it really takes.

Varric: Shit. You're either the worst qunari ever, or the best. I can't decide.

He also showcases great frustration with the way Iron Bull pokes holes in his Bond like spy writing, in favor of the mundane realities of Cloak and Dagger stuff.

Because for all that he prides himself on tall tales, varric does like his writing to somewhat be plausible. Its why he gets pissy at the inquisitor when he tells him how stupid so many parts of DA2 were writing wise, cause Varric wrote it how it happened, and while embelishing it, it was mostly true.

And if his spy writing isn't realistic enough that it might plausibly happen... Then it's not as good as it could be.

Iron Bull: By the way, Varric, you write some nice fight scenes.

Varric: Well, thank you. I'm surprised you think so. They're not exactly realistic.

Iron Bull: I figured that out when the good guy did a backflip while wearing a chain mail shirt.

Varric: And that didn't bother you?

Iron Bull: Back in Seheron, I fell on a guy who tried to stab me in the gut. I felt the blade chip as it went through my gut and hit my back ribs. But I was alive, and on top. I sawed through the armor on the rebel's neck, back and forth, until it went red. I don't need a book to remind me that the world is full of horrible crap.

Varric: Impossible swashbuckling it is.

Meanwhile, this bit is surprisingly layered.

First off, there is Bull's retelling and describing the way he dealt with the Vint while bing impaled as "realistic". If this was not a world with magical healing such as potions or poultices he'd had died from this incident, due to infection if nothing else. That's meant as a bit of meta irony.

But the actual meat of this, is that Varric is just letting Bull rant.

The whole "Backflip while wearing chainmail armor" is something Hawke can literarily do in DA2, Provided you are a rogue Hawke and has high enough stats. If so, when hit by a trap, Hawke will simply backflip out of the way, even if wearing chainmail armor.

It is the kind of shit that for a long was normal for Varric, and he writes it into his fight scenes(Which he has a self dig at calling them not realistic, despite having seen shit like that for himself all the time).

But he doesnt say any of that.

Instead he just lets Bull rant, get it out there how shitty he really feels, because varric knows when to talk, and when to listen, and here is a time to listen.

Varric: So, Bull. You and Dorian?

Iron Bull: Mm-hmm.

Varric: "Two worlds tearing them apart, Tevinter and Qunari, with only love to keep them together."

Dorian: I don't see how this is even remotely your business, Varric.

Iron Bull: Could you make it sound angrier? "Love" is a bit soft.

Dorian: Please stop helping the dwarf.

Varric: How about passion?

Iron Bull: Yes, that's better. Love is all starlight and gentle blushes. Passion leaves your fingers sore from clawing the sheets.

Dorian: You could at least have had the courtesy to use the bedposts.

Iron Bull: Hey, don't top from the bottom.

Varric: Passion it is, then.

Also, i wanna highlight his banter with bull, if he and dorian hook up, and if both are with him in the party. It's really the only bit of Dorian varric banter with real character meat to it, as it puts Dorian's rarely seen tsundere side on full display, and why he makes such a good match with the easy going, yet equally passionate iron bull.

Iron Bull: Hey, Varric, I was reading your stuff... Where do your bad guys come from?

Varric: Well, some of them come from Tevinter and some are Ben-Hassrath spies... but I like the stories where the villain was the man beside you the whole time. The best villains don't see themselves as evil. They're fighting for a good cause, willing to get their hands dirty.

Iron Bull: All right, that's really deep and all, but I meant where do the bad guys come from literally? The way you write it, it's like they just fall from the sky and land on top on the hero.

Varric: I like to leave some things to the reader's imagination.

Also, final bit i'll cover of these two here. It's both a meta hit of writing in that it's supposed to be about solas, but can also apply to Iron bull, and is a self depreciating dig on the single worst gameplay mechanic from DA2.

Sera

So, as with Cole and Dorian, im not covering this sequence of banter as it doesn't really reveal much about Varric as a character. Its generally just Sera trying her usual bullshit, and Varric taking the piss out of her, much to her frustration.

Im not exactly a big fan of Sera, and even here, where most of their dialogue is about Varric basicaly running rings around her, don't really makes me smile.

There is one bit of banter though, that i do want to highlight.

Sera: (sing-song) La la la la la, Sentinals are shits.

Varric: Like it or not, Buttercup, that’s where you come from.

Sera: Says the undwarfiest dwarf ever!

Varric: Fair enough. Paragons can be shits too.

So, this one i feel is extremely important, for the reason that it goes to showcase that 1. Sera doesn't understand Varric in the slightest, and 2. Really goes to showcase Sera's complete and total lack of self awareness, and just how out of touch she is, raiding other people's homes, and calling them shits for defending themselves.

But that second one i'll save for Sera's banter review.

For this one, I want to highlight how Varric, just like Dorian understands and more importantly loves the Culture he originates from. He knows how shitty dwarven culture can be, and will never avoid taking the piss out of it for all it's flaws, but he also admires it. He admires their ability to create marvels, their grit and determination that has seen them take on the Darkspawn for a hundred years and still stand, and the individuals that stood up and above the rest to serve as legends, just like Hawke and the Inquisitor.

There is a reason his hangouts in both games are decorated full of very traditional dwarven furniture. Because he wants to live in a home that looks dwarven.

Because the past is important.

It's a bit of wisdom he tries, and fails to impart to Sera, that you simply trying to pretend your roots don't exists never works. And he's right. Even though Sera never admits wrong on her own part, she fully admits she burnt out on this spiteful hatred in Tresspasser.

Solas

Solas and Varric's banter though, is far, far more interesting.

Both of them are tricksters, both value the past greatly in their own way, both understands the power of a story, both of them lie to the Inquisitor, and both would rather remain the side character than step up to take the spotlight.

And yet they are different. Opposites almost.

One of Varric's defining feature as a person is that he cares about all his friends and how those friendships transcends the chains of status, having become friends with dwarves, Qunari, kossiths, humans, elves, templars, mages, seekers, antivans, fereldens, kirkwallers, orlesians, tevinters, anders, revains, avvar, and so on.

Solas single defining feature is how he sees everyone he does not knows except for his own, very small list of what he considers countrymen, as not things, and is willing to destroy the world for them to prosper.

Varric stays out of the spotlight cause he likes being the power behind the throne. Solas does it because as the Herald's Judas, he doesn't want anyone to question the many, many questions about him further than they have to.

Varric lives in the present, but respects the past. Solas in the past, and is terrified of the present.

Which leads to some of the most interesting banter in the game.

Solas: By the end of Hard in Hightown, almost every character is revealed as a spy or a traitor.

Varric: Wait, you read my book?

Solas: It was in the Inquisition library. Everyone but Donnen turned out to be in disguise. Is that common?

Varric: Are we still talking about books or are you asking if everyone I know is a secret agent?

Solas: Are there many tricksters in dwarven literature?

Varric: A handful, but they're the exception. Mostly they're just honoring the ancestors. It's very dull stuff. Human literature? Now there's where you'll find the tricky, clever, really deceptive types.

Solas: Curious.

Varric: Not really. Dwarves write how they want things to be. Humans write to figure out how things are.

Solas questions Varric about the to him, alien Dwarven liturature, trying to figure out what the new, "lesser" dwarves might write about when no longer part of a hivemind.

Varric gives it to him straight, but there is a deeper bit of character here.

Varric is able to explain this to Solas, because as a man who understands Dwarven culture, strengths, flaws, and weaknesses, and how it ticks, as well as undoubtedly having read a lot of dwarven literature, Varric is able to point out all it's shortcomings, or more accurately the way Human and Dwarven literature trends differentiate due to different cultural values.

Varric: You really spend most of your time in the Fade?

Solas: As much as is possible. The Fade contains a wealth of knowledge for those who know where to look.

Varric: Sure, but I don't know how you dream, let alone wander around in there.

Varric: Especially when the shit that comes out of the Fade generally seems pretty cranky.

Solas: So are humans, but we continue to interact with them... when we must.

Here Varric pries a bit into a topic he(If you took him with you in night terrors) only has experienced once before for himself, from someone who knows more about the fade and the veil than anyone.

Solas ends it on a much darker note than Varric assumes though, as what he means is, we have to tolerate them "for now."

Solas: Is it true that the entire dwarven economy relies upon lyrium?

Varric: Mostly. We've got the nug market cornered as well.

Solas: And the dwarves of Orzammar have never studied lyrium?

Varric: If they have, they certainly haven't shared anything up here. Why?

Solas: It is the source of all magic, save that which mages bring themselves.

Solas: Dwarves alone have the ability to mine it safely. I wondered if they had sought to learn more.

Varric: The folks back in Orzammar don't care much about anything but tradition.

So here we have Varric flat out bullshit Solas in several ways. He knows way more about lyrium than most, having studied red lyrium himself, and yet he does not give that information to Soals, the way he does with the Herald, showing that deep down, Varric trusts you far more than Solas, if not as much as Hawke.

He also knows that both surface and underground Dwarves have deeper knowledge of lyrium than any human, being it's the source of all the enchantments and magic, and that while they might not know it's origins, they understand how it works, and how to use it, transport it, store it, and so on.

If there is one thing Orzammar is good at, and not stuck in tradition, it's exploiting Lyrium to the hilt.

And yet he bullshits Solas about it completely. Because this is an early banter, the likely reason is simply that he does not trust him.

Which given his other important lies is not surprising.

And solas later recognizes this.

Solas: I find the fall of the dwarven lands confusing.

Varric: What's so confusing about endless darkspawn?

Solas: A great deal, although that is a different matter. Dwarves control the flow of lyrium. They could tighten their grip on it.

Varric: It's hard to get the attention of the humans when the darkspawn aren't up here messing with their stuff.

Solas: You're active in the Carta. You know your people could tug the purse strings. You could claim sovereign land on the surface, or demand help restoring the dwarven kingdom, but you don't.

Varric: You're not saying anything I haven't said myself, Chuckles. Orzammar is what it is

Solas Attacks Varric's arguments from adifferent angle here, without directly calling him a liar from the banter before, as he points out just how much power Orzammar has through it's economic might, how even if they know how to use Lyrium so effectively, they haven't been wielding that might to effecrively hammer out an anti Darkspawn coalition to crush the darkspawn in their own dens and wipe them out from the source.

Realistically, the dwarves are rhe only ones who could see it done, and yet they havent. Because before Bhelen, there was never a king willing to upend the entire system to get results.

Varric doesn't actually give his direct thoughts in this bit of banter, but it goes into future ones. Before that though, im gonna quickly cover another bit of banter.

Solas: Do you ever miss life beneath the earth? The call of the Stone?

Varric: Nah. Whatever the Stone - capital S - is, it was gone by the time my parents had me.

Solas: But... do you miss it?

Varric: How could I miss what I never had?

Varric: But say I did have that sense, that connection to the Stone. What would it cost me?

Varric: Would I lose my friends up here? Would I stop telling stories?

Varric: I like who I am. If I want to hear songs, I'll go to the tavern.

Solas: You are wiser than most.

Solas worships the past, to such a degree that he thinks being part of a hivemind under the titans, must have been better for the Dwarves, because of what it allowed them to accomplish by magic, and more importantly that it's what they used to be.

And what they used to be, must be better than what they are now, because the past is better.

Meanwhile Varric is content with the present. He never had stone sense, so why worry about it? Why dream of it, why become his parents? That would be absolutely awful, so why not embrace what you have now.

Though Solas doesn't know it, his backhanded praise here is actually even moreso than he knows.

Its backhanded by intention, because he acknowledges that varric is wiser than those who would wail about their lost glory... But as we'll see in the following banter, he regards all Dwarves, regardless of wheter they are like Varric, as lessers and fools. So varric is better... But he is still a fool.

Meanwhile, on Varric's part, it's even more backhanded than Solas intends because Varric is doing exactly what he's saying he isn't here.

Dreaming of glory days when all was simplier and he was a happier man. He's not dreaming of stone sense itself, but the sentiment is the same.

And he knows it. That's one of the saddest things about Varric in DAI. He became his parents, his worst fear, but he's very much aware of that fact.

Solas: Is there at least a movement to reunite Orzammar and Kal-Sharok?

Varric: What is it with you, Chuckles? Why do you care so much about the dwarves?

Solas: Once, in the Fade, I saw the memory of a man who lived alone on an island. Most of his tribe had fallen to beasts or disease. His wife had died in childbirth. He was the only one left. He could have struck out on his own to find a new land, new people. But he stayed. He spent every day catching fish in a little boat, every night drinking fermented fruit juice and watching the stars.

Varric: I can think of worse lives.

Solas: How can you be happy surrendering, knowing it will all end with you? How can you not fight?

Varric: I suppose it depends on the quality of the fermented fruit juice.

Solas: So it seems.

---

Solas:: I am sorry to have bothered you with my questions about your people Varric. I see so much of this world in dreams. Humans, my own people, even qunari. Dwarves alone were lost to me, save scattered fragments of memory where some spirit cared to watch. Now I know why I see so little.

Varric: And why is that?

Solas:: Dwarves are the severed arm of a once mighty hero, lying in a pool of blood. Undirected. Whatever skill of arms it had, gone forever. Although it might twitch to give the appearance of life, it will never dream.

Varric: I'd avoid mentioning that to any Carta, Chuckles. They might not take it the right way.

---

Varric: What's with you and the doom stuff? Are you always this cheery or is the hole in the sky getting to you?

Solas: I've no idea what you mean.

Varric: All the "fallen empire" crap you go on about. What's so great about empires anyway?

Varric: So we lost the Deep Roads, and Orzammar is too proud to ask for help. So what? We're not Orzammar and we're not our empire.

Varric: There are tens of thousands of us living up here in the sunlight now, and it's not that bad.

Varric: Life goes on. It's just different than it used to be.

Solas: And you have no concept of what that difference cost you.

Varric: I know what it didn't cost me. I'm still here, even after all those thaigs fell.

---

Solas: You truly are content to sit in the sun, never wondering what you could've been, never fighting back.

Varric: Ha, you've got it all wrong, Chuckles. This is fighting back.

Solas: How does passively accepting your fate constitute a fight?

Varric: In that story of yours—-the fisherman watching the stars, dying alone. You thought he gave up, right?

Solas: Yes.

Varric: But he went on living. He lost everyone, but he still got up every morning. He made a life, even if it was alone.

Varric: That's the world. Everything you build, it tears down. Everything you've got, it takes. And it's gone forever.

Varric: The only choices you get are to lie down and die or keep going. He kept going. That's as close to beating the world as anyone gets.

Solas: Well said. Perhaps I was mistaken

This entire banter line is about Varric and Solas.

On solas part it's about his very well spoken and articulated racist opinions on the modern dwarves compared to those who came before and trying to rack his brian around them not going to the lengths he himself would have gone to save their race.

Also the fact they are no longer part of the Titan hivemind. He's really stuck on that for reasons we don't really fully understand.

However, far, far more importantly this is about Varric's entire storyline in DAI.

Varric talks about Orzammar, about the loss of the deep roads, and yet they are all still there, still fighting, still marching on, rather than laying down and dying.

That is the true strength of the Dwarven race.

The ability to keep going even after losing everything. The original dwarves lost the titans and their magic. They marched on.

The dwarven empire lost the deep roads, and all but two thaigs. They marched on.

The surface dwarves lost their caste the last remains of their magic, and their status in dwarven society. They marched on.

Varric lost kirkwall. He lost his entire friend group that was the people who he loved more than any other group of people he has ever know. He lost his home that he grew up in and loved. He lost his parents and he lost Barthrand, the only remaining family he had, and who despite it all deeply, deeply loved. He lost Bianca, a teenage infatuation he never was able to get over.

And he lost Hawke. Either to Anders kickstsrting the war, or to the fade.

He lost everything he loved.

And yet He. Marched. On.

Varric's story in DAI is an understated one, one that isn't really given story focus, but unlike all the rest of the attempts at telling a more subtle story with the companions, this one actually worked.

Varric's story, is about his march onwards.

He lost everything due to Anders actions, and yet here he is. Marching forward through life. He hasn't laid down and died. He's still here. He's still fighting.

He still has hope.

And so he marches on through the twilight of his life, and keeps going, even if he loses Hawke forever... He keeps going, and he makes it through his depression, and grief to make a new life for himself in Kirkwall.

A new Kirkwall, but Kirkwall nonetheless.

Solas: That crossbow is remarkable, Varric. I am surprised the dwarves have not made more of them.

Varric: The woman who made Bianca would rather that not happen. Wars are bloody enough as it is.

Varric: A crossbow that fires this far and this quickly with so little training? Every battle would be a massacre.

Solas: Indeed. I am surprised, not disappointed.

Here we get a lot of insight into Varric... But also a moment of great moral ambiguity.

Everything Varric says here is true... But it would also mean his people finally, finally being able to destroy the darkspawn for good and all. Such a tech advantage would allow them to wipe the blighted Creatures from existence with ease.

Varric is more than brilliant enough to understand this... But he chooses not to think about it, or wheter it's a good course of actions, because he is shackled to Bianca even now, even still.

Bianca wants this crossbow not to be on the market, so he doesn't put it on the market, regardless of good or bad.

Varric: Hey Chuckles, do you ever play Wicked Grace?

Solas: I'm not much of a gambler anymore.

Varric: You don't have to play for real coin, that's just for keeping score.

Solas: What do you play for?

Varric: Conversation mostly. That way I win no matter how the cards fall.

This is a followup to Varric's original introductionary short story from way back in the day.

From that one we learn that Varric doesn't actually drink anything served at the Hanged man, he just orders a wine glass or beer mug, because he knows people get nervous if you don't drink in a bar, so he crafts an illusion to aid him in his rogue life.

Vivienne

So like a number of these I'm not gonna cover them in full, as while good, and well written, and paints a very clear picture of Vivienne, they're not exactly deep character pieces for Varrix... But I do wanna cover a few.

Vivienne: Am I to understand, Varric, that you knew the apostate who destroyed Kirkwall's chantry?

Varric: Unfortunately, yes.

Vivienne: What could he possibly have hoped to accomplish with such madness?

Varric: Exactly what he got: a whole lot of innocent people killing each other.

Vivienne: I take it he's no longer on your Wintersend gift list.

Varric: Depends. Does a flaming sack of bronto dung count as a gift?

Vivienne: Only if you tie it with a silk ribbon, my dear.

More Varric hating Anders, and laying all the blame of the Mage Templar Wars and ruining his life on him.

Vivienne: Tell me, Varric, who is the protagonist of this serial?

Varric: You know, we're so far into spoiler territory right now, I think I better stop talking.

Vivienne: Come now, darling. You can tell me.

Varric: Not on your life, Iron Lady. The best way to ensure a book's nevered finish is to tell someone your entire plot.

More Varric showcasing he cannot stand spoilers coming out, and it destroys his entire ability to write.

Vivienne: You know, Varric darling, I read your Hard in Hightown.

Varric: You did? Seriously?

Vivienne: Most of the Imperial Court did. It was in fashion a few winters ago.

Varric: Just how much gold is my publisher stealing from me?

One detail i really like about Varric, is that he tries to create this image of himself as always bring in control and all that... And then he has moments like this where his regular ass publisher swindles him for a shit ton of money.

Vivienne: How many chapters will this book be, Varric dear?

Varric: Well, the first one will come out in twelve chapters.

Vivienne: The first one?

Varric: I've read enough Orlesian fictions to know you never tell a story there in fewer than three complete books. They think you're just warming up after one.

Vivienne: And what happens to the scheming duchess in the first book?

Varric: Are you asking for spoilers, Madame De Fer?

Vivienne: Hints, darling. Not spoilers.

More Varric showcasing he understands other cultures and how they write stories.

[grimalkinmessor]

I love the Light Grows Up In Wammy's House premises but I also think I love it in a very different way than most people do

Like I don't see it as a Childhood Friends/Rivals™ trope for Lawlight, I very much see it as Light growing up being told that there's someone better than him, someone he must not only surpass, but become—and I think he does the opposite of what BB does. He starts to hate L not because of anything L actually did (because they wouldn't have met) but because everyone keeps implying that L is better than him when Light KNOWS that he's the superior one. Beyond finds out that L is addicted to sweets and immediately changes his diet to include cakes and candies, while Light immediately wipes everything sweet from his mental list of desired foods.

He is perfectly polite, he's the baby of the group, and he can do no wrong in every other aspect of life except for the fact that he vehemently doesn't want to take L's place no matter how hard they push him. He wants to become his own sort of detective on his own merit, and he'll be damned if he has to use L's name while he does it. If he solves any cases it's anonymously, under a pseudonym.

And if he ever meets L, they won't be friends. But that vaguely disconcerting teen/man that sometimes sits in the corners of rooms and talks to no one is very interested in what Light has to say, no matter what it is, and seems to both enjoy it when Light talks shit about L and yet is still somehow annoyed by it. They get into heated arguments and he'll steal Light's things and pull his hair and mess up his clothes no matter how many times the caretakers chastise him for it (though even that happens surprisingly rarely). Light would stop talking to him entirely if he wasn't his only hope of getting out of Wammy's little genius factory both physically and mentally intact.

Light makes plans to run away and runs them by the broody teenager he's tolerated, who helps him pick out any holes in his plans, but somehow the staff always seem to catch Light before he can escape. It happens so often that Light even begins to think that someone's snitching on him, but he's only ever told one other person, and he wouldn't care enough to stop Light from leaving....

Would he?

Or, alternatively, Light never meets that stranger in the corner. Instead, Watari happily sternly informs him that L has personally selected Light to help him on cases. Isn't that great? Isn't it an honor? A and B are practically roiling with jealousy, Light should be grateful.

But Light is not grateful. He takes the news with a big ole fake smile, and silently plots L's mysterious disappearance before he's even come face to face with the man. He wants to make it on his own, he doesn't want to be reliant on L's name and Wammy's money and generosity forever, and he loathes the fact that he's been metaphorically chained to L's title in all the ways he didn't want to be.

A tiny Light, accompanying a teenage L places and becoming his face (both because L is petty and because he thinks its funny when police are introduced to a little kid as their Consulting Detective) around the world, all while they throw vicious barbs back and forth and spend quiet Christmases together and throw each other under the bus for fuckups and try foreign cuisines together and struggle to keep (L)/gain (Light) the power and ground they both don't even actually want.

L gives Light all the cases he doesn't want, like he's doing him a favor, and Light regularly calls A and B to smack talk L behind his back and turn the rest of his successors against him.

I can even imagine some amalgamation of both of these scenarios happening, or even eight more vaguely like them in the vein of L and Light being both completely antagonistic towards each other while also simultaneously growing so codependent that they can't stand not knowing what the other one is doing at any point in the day and also get absurdly jealous whenever anyone else even speaks to them.

Or EVEN a scenario where L doesn't pay attention to Light at all until he's grown and out in the world on his own. Light makes a quick name for himself, decidedly divorced from Wammy's influence, and eventually meets L on accident through a case L is working on, wherein L becomes intrigued with him and looks into his history only to find that he's a Wammy kid and L goes "Oh. You're one of mine."

To which Light takes decidedly poorly given that the claim both riles and razes Things™ in him because growing up with the vaguest desires to be like the man in front of you even though you loathe him and those desires were quickly squashed and never thought of willingly or voiced aloud leaves behind both the intense need to alienate yourself from said man entirely and to get close enough to become better than him for all to see and witness—only for Light to find that he can't alienate himself completely from L anymore because L decidedly won't let him and he can never quite seem to surpass him either because L is constantly nipping at his heels, echoing his thoughts with brilliant deductions of his own, and it turns out that trying to intellectually sprint past someone who only starts running when YOU do and has a distinct headstart is harder than it looks.

[suzukiblu]

Silver, glory or shatter?

Jon had a great childhood right up until he had a horrible one, which is something he tries not to dwell too much on.

It's also something that's a little harder not to dwell on than usual while standing in front of the only other Kryptonian-human hybrid he's ever met, who's twelve years old if he's a day.

Literally. Literally this kid is both twelve years old and also just a day, because Jon and Jay and Damian apparently walked right into the middle of this weird cloning scheme that no one in Cadmus wants to explain the purpose of to them.

So, like, that's not screamingly suspicious or anything.

"Hi, kid," Jon tries. The baby clone wearing his dad's twelve year-old face just stares up at him from the bottom of the shattered remnants of the cloning tube that Jon maaaaaybe shouldn't have punched quite so hard.

"We could eliminate the staff and destroy the evidence," Damian suggests from where he's standing by the nearest computer with Jay, which is not actually the kind of thing that Damian suggests anymore. Like, ever. It makes Jon more than a little bit concerned about what's on that computer.

"Less murder in the plan, please," he requests, not quite able to take his eyes off the kid with, again, his dad's face. And also Ultraman's face. But he tries to concentrate on the "Dad" part of that observation, for obvious reasons. "Although I'm still open to destruction."

"Any witness to the clone's existence is a threat to its autonomy and survival," Damian says as the staff members tied up in the corner all look very, very nervous. "Frankly the only compelling argument not to execute these contemptible excuses for sapient life is the risk of inciting trauma in the clone. I recommend covering its eyes at a minimum, depending on its currently developed powerset and any potential X-ray vision or enhanced senses that it may possess."

"Not to encourage Nightwing's less Batman-approved instincts, buuuuut I just read, like . . . everything they were planning to do to this kid once they cracked that cloning tube," Jay says, eyeing the computer screen very, very darkly. "So we are treading a bit dangerously close to 'how many lives are worth this kid's freedom?', and to be honest the math does not support the assholes in the lab coats in this particular equation."

"That doesn't make sense," the clone says as he gets to his feet in the tube and starts distractedly pulling off the genuinely alarming amount of machinery hooked up to him, looking puzzled. "The staff would be way harder to replace than me. They're, like, real people."

. . . Jon reconsiders the merits of the murder plan. Just, like . . . just a little bit. Just a touch.

[dailyrothko]

ik its taboo to ask but, what do you see in rothkos work? Why do you like it?

It's not taboo! But I have answered this many times before so, I might direct you here or here for random examples of my answers and just add a bit, perhaps retreading...

Rothko gets singled out for being famous and looking simple (though it's not not) but I don't feel the criteria is different than it would be for any other artist.

My favorite artists, Munch, Bearden, Hokusai, Bill Traylor, Ruth Asawa etc., what do they have in common? Just the basics of form, color and light and the emotion that is carried through them.

I don't feel like the public always has great taste but I do subscribe to the idea that Rothko would not have endured if his work did not have meaning to some. And some of those people were Joan Mitchell, Brice Marden, Helen Frankenthaler, Motherwell, Pollock, Elaine De Kooning, Tracey Emin, Robert Ryman etc. Other fine artists blown away by these seemingly simplistic works. This doesn't mean you have like Rothko or any artist but you know here we are the the Rothko detractors kind of amuse me, not for their taste but rather for their arguments.

I think a lot of people just aren't exposed in person to a wide variety of art and when you see things in the flesh, so to speak, it's a wildly different experience than the world of looking at computers. And art museums are also places people react to thinks as a group and it's an interesting footnote to see how art affects people, sometimes it can make you think.

I have devoted so much to time to Rothko, sometimes I have asked myself why, maybe he's not as good as I think, I see them everyday, it can be tiring to research and post and be involved with it.

And then, I see one again or, as in the last two weeks, I see shots from the Paris show (I couldn't afford to go but they did invite me) and again I am struck by what a really exceptional artist he was. How no one else does what he does and how I have a great feeling for his particular expression.

And Rothko the person, who could bloviate occasionally, was an exceptional character of great dedication to art and to his idea. I have known lots of artists and his intense commitment to an idea, that was not popular, that was not making him money, that had not been done before, was a relentless pursuit. I admire that too.

Detractors would have to you believe silly things about art, embarrassing things not seated in the normal "Does nothing for me" argument which is a great argument about any artist. Rather they want to say it's the emperor's new clothes and frankly, while that's cool if you believe it, the technical merit argument is so hollow and silly, I never even know what to say to these people. The reductive standard is basically the best painting of a cat is the one that looks the most like a cat, and if you believe that, buy a camera and save yourself some money.

Even yesterday with the Christie's sale, and the orange/yellow Rothko, which is certainly not one of my favorites, Photographer Mark Cashion (thanks Mark) sent me this shot. And I was just impressed again, kind of in the opposite way that his detractors feel. They see someone doing nothing and I see someone creating a huge amount from very little.

Thank you so much for the question , sorry, as always to prattle on.

[cosmicobubisi]

Cosmic's Whump vs Flufftober: Day 10

BLOW TO THE HEAD passing out from pain | "I can't think straight" / Bet, Game, Contest

"Explain to me more about this process of refrigeration."

Yuu and Malleus were taking another one of their nightly walks together, enjoying nothing but each other's company and the savory fall air.

Soon enough, snow would be on the ground. Any change to their walks could break the tenuous connection the two had managed to form in these short few months, despite the apparent intensity of emotions felt on both sides.

The two of them could talk for hours, and make long stretches of time feel like a mere handful of minutes with how engrossed the two of them could get in conversation. Instead of frequently exchanging commentary, however, as other duos might, their chats usually ended up with one of them talking and the other listening, enraptured.

They could be so alluring like that.

"Well, I dunno how much there is to it," said Yuu, as they transitioned from dirt to gravel. "It's a big cold box. You put food in it, and it lasts a lot longer than it normally would."

"Fascinating," mumbled Malleus, stroking his chin with an inquisitive brow. "You are truly understating the impact of such an invention. I imagine it must have revolutionized human existence, to be able to preserve food like that."

"You're right," conceded Yuu, "but you only asked about how it worked. Not about how I felt it had impacted the course of humanity."

"True. How do you feel it impacted the development of humans, then?"

"Do you guys have anything like it?" asked Yuu, answering his question with a question.

"Oh? Do you intend to dodge my question?"

"Not at all. But I don't know how to compare it to the alternative, and I wanna know if I can use you guys- the fae, I mean, as an example."

"Hmmm." Malleus had to give it a moment of thought.

"We have associated low temperatures with slower food decay," he explained slowly as the thoughts formed in his head. "We have enough food use for large, underground cellars at the palace, though I do not know if that is a commoner's item as well. I'll have to ask Sebek."

"That makes sense," said Yuu, nodding along. "I think I've heard of that in old houses."

"Of course, we also have magic," said Malleus. "Yes, now I remember. In recent times, someone's implemented frost runes on things like jars. Instead of using them to pickle, fresh fruit is placed inside to be stored for when it's out of season. But these are much smaller than what your refrigerators seem to be."

"Jar freezers sound pretty... nice. Less storage, but a lot more portable."

"They've been surprisingly controversial, though," mused Malleus, remembering some of the argument he'd heard made against them. "Some say it's not natural to have fruits like that so far out of their growing season. While I disagree, since those people like jam anyway, I do admit, it does impact the taste unpleasantly."

"You've got that right. Some stuff just never tastes right if you leave it in the fridge for longer than, like, an hour."

"Still, I think the idea has more merit than people want to give it. I find it quite cowardly of its detractors to simply dismiss it outright. Perhaps we could learn from you all, and figure out how you made refrigerated cuisine so palatable."

Yuu laughed, and Malleus, though he didn't fully understand what was funny, chuckled along.

"It took us a bit of practice, I'll say that. If the Briar Valley is as seasonal as I think, though, then fruit in the fridge isn't what you guys need."

"Oh?"

"Yeah, there..."

Malleus slowed his steps a bit just when Yuu did. They placed a palm to their head and let their eyes flutter shut.

"Is everything all right?" he inquired.

Yuu smiled up at them, though it didn't quite reach their eyes.

"Just fine," they insisted. "Anyways, I..."

This time, Yuu held their head with both hands, and their legs shook a bit as Yuu swayed in place.

"Something really seems to be wrong. We should rest," Malleus said.

"I said I'm fine," Yuu bit back, the sharp tang of bitterness tinging their words.

"I was only trying to help," said Malleus, letting childish hurt slip into his voice.

"I'm sorry," they said, sounding a lot more contrite and significantly more beat down. "I can't think straight."

Their eyes slid firmly shut, and Malleus was there to catch them before Yuu could even fall.

Malleus looked both ways, trying to see if anyone was watching him. Night Raven kept the streets nearest to the dorms well-lit, but rarely anyone came around.

That remained true tonight. Seeing no one to disturb him, Malleus hiked Yuu's legs over the crook of his elbow, and let their head loll against his shoulder.

Yuu had a nasty habit of overselling themselves and under-reporting their injuries. What's more, they found Malleus's concern patronizing.

He huffed, remembering their words.

They'd volunteered their services to Heartslabyul's Magift team, but had been brought down when one of their idiot players swung out behind himself and struck Yuu.

They'd gotten back up in the next moment, insisting it had just been a tap, and the pathetic excuse for a safety officer had shrugged it off.

Malleus was ready to blow smoke. He'd have Rosehearts's head for letting one of his own violate protocol so flagrantly.

He could see the sickness in their eyes, though. He and he alone was Yuu's protector, even if that meant protecting them from themselves.

There was no need to deliberate on it anymore. Yuu could recover in the safety of Diasomnia's walls, nestled in Malleus's protection.

Without another word, Malleus vanished, taking Yuu with him.

[sweetestpopcorn]

hi sweetestpopcorn! i hope this ask finds you in good health and a happy september! (also i hope my ask isn’t too much of inconvience over all your work!)

i have a question relating to the dance of dragons and the blacks & the greens: while it is already established that the reason for the greens rising up and the civil war is because of rhaenyra’s gender (because there are drafts where rhaenyra does not have any bastard children to weaken her claim and still half of westeros rose up), do you think there were any nobles in westeros that were rising up against rhaenyra specifically for the reason that rhaenyra had bastards? and if so, would that mean that by your AU they would more likely be switched to black from green because of rhaenyra’s marriage to daemon? do you think that there were any nobles that were won to rhaenyra’s side because of their love for daemon?

personally i think that there may be a few families that would switch from green to black with your au but i’d love your opinion! thank you 🩷🩷🩷

Hi there!

Love your icon image <3

Hum... I get your question and there's much merit to it. I do think that the question and doubt around the "Velaryon" princes should make a lot of people not support Rhaenyra. After all, throughout the asoiaf books - all of them - we are continuously shown and told how much people despised bastards. Even in Fire and Blood and regarding the "Velaryon" princes this is highlighted for instance here:

This passage actually also highlights the issue the illegitimacy of her sons would pose for Rhaenyra herself, as she would be accused of High Treason and bear minimum would be liable for being disinherited completely but the consequences could go as far as death.

Nonetheless, as I and others have previously highlighted, even in the Green Council the illegitimacy of her sons is mentioned - by Alicent and Ser Incel Cole - but given very little attention. As for the lords of Westeros to the best of our knowledge, this was not a relevant factor.

I think it might be easily explained by a combination of factors. Most lords in Westeros had never seen the "Velaryon" princes and/or their purported father Ser Laenor + they knew that Rhaenyra had Arryn blood and that Rhaenys - Ser Laenor's mother - had Baratheon blood. Further, and most relevant of all, all three of them were dragonriders, which was taken as evidence - by the author of the book himself - that they were in fact legitimate. Of course that the logical thing is that they didn't need a father with Targaryen blood since Rhaenyra was a dragonrider and the youngest one of her house, but I think that's another evidence in the books of how much the role of women was overlooked, translation: If a child does X then it comes from their father 🤡

This all being said, I still think that this issue which was in fact Rhaenyra's biggest handicap should have played a much bigger role overall besides being used to portrait her as a wh0re and ruin her reputation, since it went well, well beyond that. However, it really wasn't.

Now we can play the "just because it's not said doesn't mean it didn't happen" game, but once again, we could also play that game with anything, including Aegon's 🥎🥎 We could say he could have anywhere from one to three and actually it would be impossible to disprove this statement. That is however, a game I don't enjoy playing because it's opening the door to just about everything, and then to the maesters, evil, evil, maesters changing history and lying.

So in sum, no, in my AU not having illegitimate children doesn't really change Rhaenyra's support all that much though her supporters are very, very pleased about who her heir is and the fact that his father was a Targaryen, which has highlighted by Lord Beesbury's arguments in Fire&Blood did matter - i.e., amount of Targaryen blood. It does change and a lot how people reading feel about her claim though, and over the years I had many people that consider themselves Neutral tell me that in the context of my fanfiction they are Team Black no questions asked.

In fact, strange as it is, I think this was an addition of George's not as much to the story but for his readers, to make them feel more ambiguous about the Dance.

Is this a big limitation in the way the Dance is written? Yes it is, and it does highlight how George is significantly stronger when he plays the gardener - main asoiaf books - instead of architect - Fire and Blood.

Cheers!

[flints-black-spot]

I've recently seen a few people talking about media literacy in relation to Flint's sexuality and labels and figured I'd throw in my two cents on the discourse that seems to pop up every few months.

Because, I honestly think it does a disservice to Black Sails as a whole to focus on "gay vs. bi Flint" because like... does it matter? if Flint only has attraction to men, that doesn't change the fact that he's canonically, willingly, had sex with women (namely Miranda). But, on the other end of the spectrum, it's just as important to recognize how, societally and culturally, gender is a construct, which will inherently mean that sexuality is fluid! Flint can be a gay man with some level of attraction to women (hell, the majority of the fandom agrees that Anne is a lesbian, yet she's clearly in love and has sexual attraction to Jack, and that doesn't take away from her lesbianism!), and that attraction doesn't make him any less of a gay man! Or he could be bisexual, and that doesn't take away anything from the overarching narrative of his queer relationship with Thomas! The focus on a single 'correct' interpretation of his sexuality, in my mind, takes away from what the show is really trying to say about sexuality, which isn't the "this way" or "that way" to be queer, but the overarching connection that struggle and strife can bring to a community. (For a similar issue, see James Baldwin's response to critics arguing whether the main character from his novel Giovanni's Room is gay or bisexual, his response is incredible.)

And, on the other hand, it's also not entirely accurate or even fair to try and ascribe modern labels and perceptions of queerness to a character that existed long before those terms were even coined? In Flint's time, homosexuality was something a person did, not who a person was. While, yes, his queerness is inherent to his journey as a character, and he very clearly views it as a part of his identity, it's also very much worth noting that two things (homosexual love and desire, and heterosexual love and desire) can coexist, and not either way take away from his narrative as a whole.

Finally, then, there's the common thread of 'media literacy' in determining Flint's label (which, again, I honestly think is just a non-issue because it has such little impact on anything in meta discussions?). To present an opinion like "Flint is gay" is an example of an interpretation, one which can and should exist among others! To have a single, 'correct' interpretation of a piece of media, especially one like Black Sails, is an inherently flawed idea, because every interpretation should have its own merit on its own. Flint can be both bi and gay, and both arguments have perfectly equal weight, but in the end, it doesn't really matter in the grand scheme of Black Sails meta. Either way, Flint is queer, and that queerness was a defining feature of his character for the rest of the show. To assign such importance to "gay or bi" just feels unimportant.

[givemea-dam-break]

Not a prompt unless you want it to be, but you’re the only one who will appreciate -

George/Reader (or OC) where Reader is a Database Analyst for Fittes. Enemies to lovers.

Reader dedicates her life to making information more accessible/understandable/traceable and George can begrudgingly accept that. They make appointments with each other to argue over the merits of digitization, tagging systems, etc and if these arguments spill over into meal times, maybe they grab a bite and keep arguing, and oh no does everyone think we’re dating??

Anyways <3

a/n: RAHHHHHHHH I LOVE THIS IDEA SO MUCH!!!! i know essentially nothing about technology though so i’ve probably butchered that part of this but i hope you enjoy!!! and thank you to @ikeasupremacy you really helped this go from a 2 page long flop that contained literally fuck all to a 5 page decent piece of work pahaha

warnings: mild language, mild angst words: 2.8K taglist: @neewtmas @locklylemybeloved @aayeroace @gotlostinfiction @waitingforthesunrise @mirrorballdickinson @mischiefmanaged71 @magicandmaybe @wellgoslowly @ettadear gn reader

Nice To Meet You - George Karim

“You know that, on the whole, this will make life way easier for you?”

“Since when do you want to make life easy for me?”

Taking an angry bite out of your sandwich, you say, “I’m not doing this specifically for you, twat. This is quite literally the purpose of my job, so it’s for everyone.”

George Karim sits back in his chair, glaring at you through the green reflections on his glasses. “And what exactly is the benefit of digitalising all of it?”

“Going over this again? Right, well, for one, there’s going to be new computers put into the Archives meaning more people can use them. Have I lost you yet? No? All right. For two, being able to search up what you want in a database is way easier than pacing for hours trying to find an old newspaper that someone might be using already. For three, multiple people can read the same file at the same time. You can’t do that with the musty old paper copies.”

There’s a moment of silence and an air of tension thick enough that you could cut it with a knife. The only sounds beyond George’s annoyed huffs of breath are the jingle of the café’s windchimes and chatter from other customers.

If you had your way, you wouldn’t even be sitting here discussing your plan of action with him, but your supervisor told you that you’d best talk about it to other agencies and their members to see what their thoughts are. Of course, the one time you head to Lockwood and Co. with the intention of speaking to them on purpose, hoping and praying you’d at least be speaking to Anthony Lockwood himself; you were sent off with his second and by far the most infuriating boy in all of London, George Karim. And, well, as you already know, he is a tough nut to crack.

“Why are you so stuck up on physical files, anyways?” you ask. “It’s not like we’re going to burn them on a pyre and force you to use a website. They’ll still be there. It just seems much more convenient to click a few buttons and have what you need.”

“They hold a particularly warm place in my heart,” he says with a hint of sarcasm. “But, fine, okay, life will be made easier for everybody with this new system. So why is it only being implemented now? Smaller agencies could’ve done with this years ago while Fittes and Rotwell and all the big companies have had it this whole time.”

Though you hate it, you can only shrug. “The big companies don’t want to have to compete with the smaller ones.”

“You’re saying this, but you’re working for Fittes, the biggest of the big companies.”

You grip your sandwich harder, pretending it’s George’s throat. “Yes, well, better pay than a smaller company. Some of us don’t get offered a bedroom when being accepted into a job. Besides, as much as I don’t like the big companies making a huge profit off of the Problem, I don’t have a choice. They’re the only ones with the resources I need. And, don’t forget, that’s where you used to work, too.”

Surprisingly, George doesn’t have a quip for that. He takes a thoughtful sip of his tea, glancing out of the café window and onto the busy street just beyond. The sunlight hits the lenses of his glasses in such a way that they shine a reflection down onto the table in front of you.

“So, this would be accessible for everyone?” he asks. “Not just the big agencies and their lackeys.”

“I don’t know how many times I have to tell you this to make you believe it, but yes. If that wasn’t the case, I wouldn’t be doing this.”

Quite frankly, you’re not surprised about having to repeat things over and over. Every single conversation you’ve ever had with George, no matter how fleeting or filled with irritation, has seemed like he had the personal mission of finding flaws in everything you do. Holding your rapier wrong – you absolutely did not, if anything, he was holding his wrong. Pronouncing a word wrong once. Taking a moment longer than him to spell a ridiculously long word on a report.

Now is no different. It’s as if you can see the cogs turning in his mind, working overtime trying to find an issue with this plan. But there’s nothing, that much you know from you and your team’s extensive planning and the look of mild horror on his face.

You can’t help the proud smile that parts your lips. “Go on, then, Georgie. Thoughts?”

He gives you a scathing look that only fuels the pride burning in your chest. “I think…”

“Yes?”

“I think that…”

“Carry on. I need to hear you say it.”

“Oh, shut up. I think that it’s a good idea.”

“Hmm? What was that? I couldn’t hear you.”

You’ve never seen such anger in a person’s eyes. “I think that it’s a good idea. Happy?”

“Very. That’s all I needed to hear.”

George opens his mouth to say something, probably something insulting, but a waitress breezes over. She’s a sweet middle-aged lady with a contagious smile that even has him easing up a bit.

With a twinkle in her warm eyes, she asks, “Is there anything else I can get the lovely couple?”

And that does it. If you weren’t so shocked yourself, the horrified expression on George’s face would’ve cracked you up. It looks as if someone stepped on his puppy and then tried to feed it to him. Then, amongst your own disgust, you realise that the expression is at the thought of dating you, and no matter the animosity the two of you share, you can’t help but be a little offended.

“Oh, uh, we’re not –“ You purse your lips. “Nothing else, thanks.”

She leaves momentarily, and your table lapses into an entirely uncomfortable silence. You can’t look at George. He can’t look at you. There’s a weird pit in your stomach. Nausea. Right? Because… Ew.

“I told you we shouldn’t have continued this conversation during my lunch break,” you grumble.

He hums in agreement, finding particular interest in his swirling tea. “We should probably go.”

“Yeah. Yeah, uh, we’ve covered all bases. Of the plan, I mean. Not anything else. The plan. My job.”

But, even still, you’re both sitting. You’re not moving. Why? Maybe you’re paralysed with disgust. Maybe the mere thought of people thinking that the two of you are dating is debilitating. Maybe, maybe, maybe… You’re considering it?

God, no. That’s horrid to even think about.

“I, um, are you heading back to the Archives, too?” you ask.

George takes a moment to respond, as if lost in a daze. “Oh. Yeah – Uh, yeah, I am.”

“Right.”

“Yeah.”

As soon as you stand, George is on his feet, enough money slapped on the table for the two of you, and heading over to the exit. And, well, as much as you want to let him head off on his own, here comes that realisation that it’s a little insulting that he is the one trying to escape so quickly.

What a little prick.

You’re out of the door almost as soon as he is, insistent that you will be the one ahead. Yeah, sure, you’re heading to the same place and could try to be amenable, but will you? God, no. You want him to know that you can leave just as easily and are just as horrified by this prospect of a relationship as he is.

Why wouldn’t he want to date you? Beyond the constant arguments you have, you’ve always figured you’re a pretty decent person. Smart, but not arrogantly so. Friendly. Funny. Good company. Caring. What’s not to like? How dare he be disgusted!

But he seems just as determined to reach the Archives first. It’s only a few corners away, but it feels like a miles-long race between the two of you. But if the prize is your dignity, then to hell with the distance – you’d go actual miles to preserve that, especially against George.

It comes to a halt when you’re forced to wait at traffic lights, unable to even slip across the street before they change from red to green merely because of the amount of coincidentally flooding traffic.

For what feels like hours, you have to stand beside him, listening to him breathe and mutter and tut as if this is the biggest inconvenience in the world. Hey, if he didn’t think a relationship with you was such a horrible idea then this wouldn’t be taking place!

No matter that you think the exact same. You’re allowed to feel like that.

Do you feel like that?

The beeping of the pedestrian crossing jerks you from your thoughts, and you’re rushing across the street before you know it. And, oh, curse his long legs! He’s getting ahead of you.

There’s an anger building up in your chest now, one that probably isn’t fully justified. Perhaps it stems from deep-rooted feelings of inadequacy you’ve not had the mind to think about for a little while now. Or even just out of pure spite of George Karim that has been pulsing through your veins for years now. Why has it been there? Because of him. Because of his incessant need to find flaws in your work and you, and his need to huff at anything you say or do. Like your existence is a bother.

Either way, the anger forms words before you can think to dismantle them. “What’s your issue with me?”

George pauses, near the side of the pavement, with the Archives in clear view behind him. He’s frowning over back you, dark eyes narrowed and bouncing with golden sunlight. Why should someone that hates you so be complimented by the sun? It’s entirely unfair, especially when it’s only blinding you.

“What?”

You stop a foot or two in front of him, panting a little from walking so fast. “What exactly is your problem with me? What did I do to you? Because, far as I know, you’ve hated me ever since we first met.”

The words take a minute to process, and it looks as though he’s trying to figure out some hidden meaning behind them. There’s nothing hard about what you’ve asked. Nothing harder than admit you feel ashamed to have even asked it.

“I don’t –“ George’s frown only deepens, taking complete notice of the frustration on your face.

“Forget I asked,” you say. “It doesn’t matter. Stupid question anyways.”

But, when you start to walk away, a hand on your wrist stops you, pulling you back slightly. When you  look back, George is there, hand wrapped around your arm and staring at it as if it isn’t his own skin on yours. You expect him to pull away, disgusted at the thought of touching you, but his grip only softens slightly.

“I don’t hate you,” he says.

Scoffing, you say, “Yeah, right, and I’m Penelope Fittes. Let go of me.”

And, to his merit, he does. But your feet aren’t cooperating. They won’t move. Why, why, why won’t they move?

“I’ve never hated you,” he murmurs. His gaze is fixed on yours, something you’ve always noticed he’s steered clear of doing, and you feel frozen under it. “Intimidated, yeah.”

“Intimidated?” You roll your eyes. “George, come on. I was trying to be serious, but you’re just making a joke of it.”

The look in his eyes at that moment is a mix of desperation and exasperation. “I am being serious. Do you know how hard it is to be regarded as the smartest person someone’s met, to rely on the intelligence as your only form of worth to people, and then find someone smarter than you?”

Words try to form in your throat, only to crumble like chalk beneath too-strong fingers.

“And I’m sorry it’s made me lash out at you,” he continues. “I know it’s a horrible thing to do, but it’s like my mouth doesn’t want to cooperate with my brain. Truly, I regret how I’ve treated you. You’ve never deserved it.”

Your throat feels thick, and it’s hard to swallow. “Georgie, don’t lie.”

There’s a flicker of a smile on his lips then. “You know I like it when you call me that?”

“You told me you hated it when I call you Georgie,” you say, but it feels like your voice is dwindling.

“I told you that so you’d call me it more,” he admits. “(name), I really, truly have never hated you. And, again, I am so sorry I’ve treated you the way I have. I admire your intelligence and your insistence of sticking up for yourself. I just wish I had started things differently between us.”

The anger is back, burning a hole in your chest. “You’ve had years to tell me this. Why? Why didn’t you?”

He’s breathing rather heavily. “I was scared. I was trying to figure things out – my feelings, your feelings. But, more than anything, I couldn’t bring myself to change from the person you’d begun to see, because what if you hated the real me more than this one you know so well?” Now, his eyes tear away from yours as he stares up at the sky, looking for guidance from some divine being. “Even when you insulted me, I enjoyed it because it was from you. How lucky was I to even be able to speak to you, never mind hear you come up with all these unique names? There are millions of people who have never heard you speak, who have never had the pleasure of speaking to you or will never have it again, and I didn’t even want to chance becoming one of them.”

With that, the flames roaring inside your chest are extinguished. Instead, now, there’s a strange, unfamiliar feeling in your stomach that inches its way up your body and into your mouth, holding your tongue and stopping your ability to speak.

Despite all the quips, the need to find faults in what you do, he has never meant it. How horrible does that make you, saying all of these things to him because that was how you genuinely felt?

Do they count, seeing as they were formed on the basis of a personality that doesn’t truly exist?

Your fingers hurt from tearing at the skin around your nails. “You really think I’m so bad that I wouldn’t like the real you? Georgie, there is no way I wouldn’t have preferred it.”

He laughs at that, and the sound only bolsters this strange feeling in your stomach. Not quite butterflies, but almost. More melancholic. Could you have had the opportunity to hear that laugh for years now? To cherish it the way a person does a memory? The way an artist does a creation?

“I don’t think I’ll ever be able to tell you how sorry I am,” he says, and you swear he inches slightly closer. “About the way I acted. The fact it’s taken me this long to admit this to you. All of it. I don’t expect you to forgive me.”

And you don’t. Not really. Not when it’s left a hollow feeling in your chest, left by the realisation that everything you said was unfounded and cruel and based on a person you had no true conception of. Not when this is how it has been for years between you both. Weeks, you could understand. But years?

There’s a part of you, though, that could potentially forgive him, given the chance. George may be quick to criticise or provide information for something, but he has always kept his emotions at arm’s length, that much even you know. So, for him to come and outright tell you all of this takes insane courage.

Even still, you can’t fully comprehend it all.

“Well,” you say, “you paid for my lunch. So that’s a start.”

He smiles then. A flash of white teeth and an insurgence of unfamiliar fondness in your heart.

“We could restart,” he suggests, pushing his glasses up his nose just so.

Despite the hollowness, you nod and manage a small smile. “I’d like that.”

Not even a second later, his hand is hovering in the air just between you both. “George Karim. Nice to meet you.”

It shouldn’t make your smile grow, it really shouldn’t, but it does.

“(name) (last name),” you say, clutching his hand in yours. “Nice to meet you, too.”

And, somehow, that smile of his, one you’re sure you’ll grow more accustomed to, adds a small piece of filling to the hole in your chest.

[readreactrant]

I watched Code Geass but before I get to my short rant about the show and the ship you can pretty much guess this is about…. Let me just say….

This show peaked at the pseudo incest brocon subplot, I'm taking no arguments!

Fine, fine, that's definitely not entirely true but Rolo's death had me pausing the show and staring at the screen like for what reason?! Let the boy be hopelessly obsessed goddammit 😭😭😭

Now I've gotten that out of my system…

Guess who's the character I hate most?

shocker I know/sarc

I haven't hated one half of my otp ship in a piece of media this much since that one Episode Nagi panel of Reo's heart getting destroyed by Nagi's dumbass (Reo my love love I'd treat you so much better)

Suzaku's case is worse by several degrees because his idiocy and attitude only continued to stoke the flames of my annoyance for the whole two fucking seasons until like the three or two episodes at the end cause oh my fucking God I cried.

(That shit was a wild ride enough nothing is making me watch any spin offs or side stories I care that little)

From the first moment he entered that Lancelot suit and agreed to help the side that attempted to silence him by murder, I clocked his ass and marked him as the dumbest bitch to ever exist but we love a protective loyal dog Top don't we ladies?

"I want to change the system from the inside-" bitch shut up these are colonizers you ain't changing nothing 😭

Even after they they tried pining the murder on him to sentence him to death AGAIN!! BOY WENT BACK.

AND!

He refused Zero?!

HUH?!?

Now I'm not a particularly patriotic person (I hate my county so so much) but if we got neo colonized, No matter what merits I would never be friendly or cooperative with the other side.

Suzaku stopped his country fighting back (valid reason or not I don't remember, he killed his dad and that meant surrender ig) and proceeded to kiss up to brits, fall in love with one of them, and further hinder every attempt of his own people fighting back because 'Violence wrong' but it's okay when he does it because some made up ideal told him being subservient would make a change. And it did….just for him tho, all other 11s? no one cares.

And it didn't even matter because Lulu's methods were always the ones that brought things closer!

I know it's a kind of a commentary on something, I ain't stupid but I was still pissed.

Literally had me gritting my teeth almost every time he stepped on screen, especially when he went pseudo emo after becoming a knight of round or whatever.

Bottom line, he frustrated me as much as he did Lelouch but I still wanted to see them FUCK.

The last couple of episodes where genuinely the best things I've ever watched and a brilliant end to the series. I wouldn't say I grew to enjoy all the characters but God did the plot threads keep me going.

Trust I understood very little about the gate shit and the killing God aspect but when you're having a fun time everything just looks good.

To sum up SuzaLulu…

Giving me friends to enemies to lovers (correct me not I won't hear you) All mixed together with the palpable hatred and vitriol they held toward each other is just too much.

And Lelouch as a bottom is literally my type >.< psycho, pretty, and bad at sports (also having a natural inclination to dominate others)??? SIGN ME THE FUCK UP!!!

His dramatic ass had me gripped and his personality contrasted so beautifully with Suzaku's dumbass that while I did want to be sad about that redhead he might have liked dying….girl bye 👋 make way for the gay 🏳️‍🌈

(Srsly tho, I was sad for a sec, it was a very shocking scene to say the least but Rolo pulled such a Brocon move I was laughing for a solid minute.)

I very much didn't want to be like most other yaoi shippers that watched this shit when they were ten and went for the very obvious but still delicious low hanging fruit yaoi but I see enemies to lovers mixed with tragic yaoi and an undeniably fun story and brain stops functioning lmaooo. Turns out I'm very much like other fujins ;p

Closing thoughts: Umm…If you're going to defend Suzaku in the replies…go for it I'm down to listen but he'll forever be my bitch. I love Lelouch but Light is better, Orange x Lelouch is underratedand C.C. and Kallen should have gotten married.

[isobellenoire]

Solas is Neurodiverse.

This is of course my opinion, don't invalidate me, if you find comfort in this character then I'm glad, join the party!

• Info dumping (You boost his approval by asking him about magic & the fade... and oh my world does he have a lot to say about it!)

• Strong sense of justice... freeing the slaves, wanting to right wrongs. He feels so strongly about injustice, especially when he can sympathise (mages & elves) a strong sense of social justice is often linked with ND people because we are marginalised, mistreated and ridiculed. I can often get angry, irate and depressed when there's injustice in the world and for a lot of my ND friends it's the same.

• Likes to be alone (he still has friends who are spirits, but he doesn't actively seek out companionship with people) prefers his own company. (Hermit tarot... come on! I'm crying in INTP/INTJ here)

• Always reading, writing, he even paints a whole ass mural on the walls as skyhold in a short burst of time, hyperfocus/hyperfixation.

• Comes across as blunt. I've been told I'm blunt so many times it's infuriating when I don't mean to be, I'm just firm in what I know to be true and will say it without dancing around the matter.

• Speaks 'strangely' in a poetic rhythm. While not an exclusive trait, given everything else it holds merit.

• He does have a great deal of empathy if you romance him/get to know him, but on a surface level he seems distant because he doesn't open up personally! It takes a LOT to crack that egg. I'm 4 years into a committed relationship and I still get told I don't open up enough when I'm struggling with emotions because I keep them internalised... probably a trauma response but in Solas' case... yeah, definitely a trauma response.

• Comes across argumentative when talking about stuff to which the group (Dorian especially during party banter) will ask if he's upset with them, and he says he isn't. ND people are always stuffed in the 'uncanny valley' and seen as outsiders, or stand-offish... we're just not very good with social nuances in terms of delivery, but are deeply self aware of that and prefer to observe, and I argue Solas is incredibly self aware. (Knows when he is being 'selfish' or 'foolish')

• Incredibly knowledgeable on a lot because he's intensively researched it, has to know everything about that subject and becomes deeply immersed in it.

• He never lied about anytning, he just didn't throw it out there... Autistic people can lie you know... however not once did he lie, he just kept his secrets hidden, that's very different to lying. Lying wild be 'Are you Fen'Harel'?... 'No' I've kept secrets from people for a long ass time to spare their feelings and my own self interest. (Not as bad as it sounds ahah! Just an example)

• History nerd... C'mon most of us have a favourite time period that isn't this one...

• I mentioned the paintings, he's also an artist, as well as a dreamer. A lot of us have infiltrated science or the arts... or both! Most of the world's leading scientists and artists are ND. He probably has an idetic memory.

I have more if people care to hear it, but in my opinion and based on my own personal experience being AuDHD, I'd say he is. I resonate with his character more deeply than the others because no ND person is alike and we all have our own personal struggles/wins.

A similar example in media to Solas would be (and hear me out ahah) Walter White (minus the drugs) but intelligence and the way he speaks to others, hides stuff from people (and assumes an alias to seperate himself) I definitely see WW as Autistic. So why not Solas?

Can we please stop infantalizing ASD, and applying the manic pixie lense to it, there's so much more to it that just 'quirky'. Cole is practically confirmed, people have debated Sera being ADHD, but also they are painted with a similar 'childish' brush.

Thanks for coming to my ted talk ahah.

[backjustforberena]

In this episode, Rhaenys displayed remarkable grace and nobility of character.

The contrasting attitudes between her and Corlys regarding Alyn are striking: we're unsure how long Rhaenys has been aware, whether the wound reopened recently when Alyn saved Corlys, or if she found out only after knowing who was the man who had rescued her husband.

Nevertheless, she manages to recognize Alyn's merits, personally thanking him and reproaching Corlys for his mistreatment of his son. It's evident she's deeply hurting and feels once again 'not good enough' (her comment about Alyn's mother being beautiful suggests she may have justified it with 'he found someone who had something more than me') and she's feeling like she's lost the last piece of her family.

And in spite of all of this, it's not Rhaenys who ends up feeling 'humiliated', 'diminished', or 'embarrassed', but it's Corlys. His reaction (lowering his gaze and answering with verbal aggression 'is this why you came? to subject me to an inquisition?' -it's the only time he does it with rhaenys) is driven by shame and a bit of cowardice. It's as if the image he had of the mighty Sea Snake is false, and in the end, he's just a man with weaknesses. I believe Rhaenys understands that and pities him.

"this episode" refers to Episode 04, because I'm slow as heck with these replies.

It's such an interesting scene, there are so many layers and little shifts in it, and I just think Eve and Steve do a marvellous job with it. Even though we know they aren't working with any factual certainty around the situation (like, as you say, how long Rhaenys has known), they're bringing an emotional truth to it and an emotional "fact" to it - they have an understanding of how their characters are in the moment and how they are reacting to the situation, even if the rest is all murky.

The contrasts are striking and I find questioning how the audience is positioned to be cool as well. Because there's an argument, at least, to somehow understand Corlys more than Rhaenys. This storyline is about Corlys - he's been the one interacting with it and with Alyn. Like him, we've been wondering when the shoe is going to drop and imagining how Rhaenys would react to this new information.

But this scene is told from Rhaenys's perspective. We start with her and Corlys doesn't come in until halfway through. Not only that, we find out that Rhaenys already knows! But on the flip side, we don't leave with Rhaenys. We stick with Corlys, and we stick with his reaction to her walking away, rather than watching her walk away from him and staying with her.

I've got my own headcanons, based on what we get from the scene - so, for example, I don't think Rhaenys goes there with the intent of talking about it. I think she's confronted with it just as much as Corlys is: it's information she wasn't seeking, and she's come to the docks not to see Alyn but just to say goodbye to Corlys. Alyn is just there and he's undeniable. I also think she's forced into talking about it with Corlys just as much as he is because he busts her touching Alyn's face. If he hadn't seen that, would she have said a thing? If Alyn hadn't been there, would she have pursued it? I don't know. I don't think so, actually.

Funnily enough, I read some of this differently to you. Especially in referring to Alyn's merits. She doesn't actually ever thank Alyn. She just confirms who he is. Then, with Corlys and speaking about what they should do, it's one of the only times, actually, that she's not looking at Corlys when they're on the topic of Alyn. And her words and her tone are very level and formal and remarkably detached. I think it's self-protection. Just as it was to insist on "Princess" with Alyn. Just as it has been in various other situations - burying the emotional reaction to keep strong.

Alyn’s past is no fault of his. He saved his lord’s life. He should be raised up and honored, not hidden beneath the tides.

I think how she says it... she's forcing herself to be rational and pragmatic and not give away how much it hurts. She goes back on formality and treats Alyn as if he were anyone: He did this thing, it was a good thing, if he wasn't your son then he'd be treated in a certain way for doing this so that is what we should do because that's the right thing to do. Even if it breaks her heart.

I'm always hesitant to double-down on anything like "feels once again 'not good enough'" - mainly because of the proximity to the betrayal. She's not finding all this out now. She's not having an immediate reaction. It has been years, she has other things within that scene to react to and deal with other than the base information of her husband cheating on her and I also think she's emotionally mature enough and aware enough to not go down any hyperbolic road within the space of this encounter - if that makes sense? And I don't concur with "lost the last piece of her family". I don't think that's applicable at all, actually, but I'd be interested to hear your reasoning for that exact expression.

And the line about his mother, which is really the only line we get that even remotely touches on how Rhaenys has felt/is feeling about it all, can be read multiple different ways. I don't think she sees Alyn's mother in Alyn at all. I think it's all Corlys. There's still a level of unknown about it. She's not looking at Alyn and seeing what he looks like and going: your mum was beautiful. It's "must've", suggesting she really still doesn't know or can't picture what this woman looked like, even as she looks at this woman's son.

I think it means a lot of things. But that's another post.

But yeah, Corlys is the one who is shamed. He's not dealt with his own actions, and I suppose - and I hadn't really made this connection before so stay with me... it's a bit like her reaction to Daemon lashing out at her. It says far more about HIM than it does about HER.

And Rhaenys always has compassion for Corlys. I will always say that. She's NEVER without compassion for him. She can think he's wrong and a dumbass and all of that. She can think badly of him. But she never, ever wants him to hurt when he doesn't need to be. The look that she gives him after he accuses her of an inquisition - of plotting, or otherwise trying to catch him out... is heartbreaking.

I think there's a lot in it. I think that that is breaking her heart as much as the other stuff: knowing not only what he's expecting from her, but what he's projecting onto himself, how he feels, and what he's been dealing with. Yeah, lots of compassion. Maybe not quite pity because it's his own mess. But lots of compassion.