#and no it doesn't make much more sense in context

[starry-bi-sky]

haha tags have a 140 character count and a max 30 tag limit, not that i would know anything about reaching max of that....

whole ass fucking backstory is PHENOMENAL-

TY!!!! If you want I gave that whole backstory its own post which, there's nothing NEW to the post other than I gave the rogue cultivator that adopted Xin Yuan a name -- Lin Kai -- and i gave XY a childhood best friend, Liu Zhihao, who I shamelessly based off Liu Qingge. Are they ancestors?? Perhaps. They certainly share a resemblance, not that SY will know since this world's Liu Qingge has passed already.

Altho it'd be so very fun in the tragic sense if SY saw Liu Mingyan and has to do SUCH a sharp doubletake because regardless of the veil concealing half her face, the half he CAN see reminds him so sharply of his dear Xiao Zhi that its like he was slapped in the face. And yk he's purposely avoided thinking about the family he left behind for the last,,, thousand years or so,,,, so he's very rapidly overwhelmed with a bittersweet sense of grief.

LBH talks to LMY for some reason or another and is so surprised when, for the first time ever, Xin Mo isn't roiling in seething jealousy. He's not sulking, or pouting, or emanating discomfort. He's uncharacteristically calm, and if LBH searches, he can catch passing glimpses of grief?? Xin Mo refuses to comment when LBH asks him about it.

(TL:DR; Xin Yuan and Liu Zhihao promised to ascend together prior to Xin Yuan getting sworded, and traveled together constantly when they were adults. LZH was XY's best friend.)

Anyways-- the Shang Qinghua and Xin Mo friendship is probably one of my favorite ideas for this au specifically because neither of them are willing to provide context?? About why they're all of a sudden friends now?? Whenever LBH is in the northern empire, Xin Mo is either sheathed at his hip, or off bothering SQH for reasons unforetold.

Shen Yuan is sprawled across one of the chairs in SQH's provided Spy Office either bitching about some dumb wifeplot they came across, bothering SQH about what Cang Qiong Mountain sect is like -- bc cmon he's SO curious about it, and he wants to know about the peak lords before they're all slaughtered in binghe's quest for revenge, OR they're complaining about their systems or about missing modern amenities. Albeit Xin Mo's memory is probably much fuzzier than SQH's in that regard since he's centuries old.

"Oh yeah I forgot about that" is a bit of a common phrase. Shang Qinghua is probably the first person -- outside of Binghe, although its up in the air whether or not Xin Mo would be that willingly emotionally honest about his past -- to know that Xin Mo was once Xin Yuan. Of which SQH inelegantly goes "WHAT?!"

Add a new conversation topic: SQH bugging SY about what his world was like a thousand years ago and verifying which epic about Xin Yuan is real and which is blown out of proportion nonsense. It's like pulling teeth though, Xin Mo would like to Ignore His Past ty. He is an epic demonic sword now, epic demonic swords don't have families or friends or lost loved ones.

It's actually not that well known that Xin Mo has cultivated a human form I think. Nothing more than a rumor, actually. Xin Mo doesn't take human form unless he's certain that the area they're in is secure. He knows that Binghe can handle himself very well on his own, but still -- it makes him twitchy.

Binghe has to coax Xin Mo out of the sword at every lord's house they take sanctuary in, and at every camp they set up in. It's a coin toss whether or not he's successful, and depends on a ton of different variables. Wifeplots, Binghe's physical state, the terrain, etc. Once Binghe takes over the underground palace, Xin Mo starts to make more physical appearances.

Once they reach the mortal realm is a new ballpark though. Xin Mo has a huge demonic presence that's easier to suppress as a sword -- but as a human? That's a different story. It's probably where Xin Mo finally reveals that he can take in spiritual qi, he just never mentioned it before because it wasn't relevant. Also, his spiritual meridians were in far worse shape than the demonic ones. The equivalent of atrophied muscles from a thousand years of disuse.

I'll need some time to figure out how that works, but eventually Xin Mo is able to cultivate enough spiritual energy to, for lack of better words, switch forms. He can't go by Xin Mo in either human or sword form since that'll certainly raise a few eyebrows, so he tells Binghe to refer to him as Sha Yuan.

Also, Binghe takes one step into the human realm when Xin Mo quite literally throws himself out of the sword and collapses onto the ground. LBH is alarmed for all of thirty seconds, before Xin Mo says "I haven't seen the sun in a thousand years" in this breathy, astonished voice, like he doesn't mean to say it out loud. His fingers are kneading the grass, and he's pressing back into the ground like he's trying to sink into the dirt.

Luo Binghe lets him stay like that for as long as he'd like.

Svsss au where Shen Yuan transmigrated as Xin Mo. Yes, that Xin Mo. Obviously Shen Yuan is pissed at this development and tried to kick up a storm but can't because sword so he is stuck waiting for Luo Binghe to show up.

After dealing with the occasional demon and mindless boredom of being just a sword, Binghe shows up. Shen Yuan is just ready to throw himself at him so they can finally get out of the abyss and the rest of the plot to happen. Binghe is surprised to learn the super powerful sword that can rip through time and space is a chill dude that wants Shen Qingqiu's castration a little too much.

Eventually through the power of the system, Soul Eater logic, or straight up complaining to God himself (sqh), Shen Yuan gets the ability to transform into a humanoid form and Luo Binghe officially needs him carnally. Shen Yuan is so happy to have hands again that he totally missed how Binghe was looking at him.

Rest the au goes on with Shen Yuan pushing Binghe to get the plot going, trying to get him to get his empire, revenge, and wives as Binghe is trying to figure out swordception.

[ennn]

Unpacking the Deals of Ep 8: Why and What They Mean

So episode 8 is... let's say a bit of a mess. I know there's some confusion around why Agatha proposes her terms for the first deal, why Rio flipped into cackling villain mode, why Rio makes another deal, etc.

Here's my read that hopefully helps draw a line from point A to B to C.

Let's consider the context of the first deal: Agatha's not having a good day. Two coven members who Agatha never expected to care about have died trying to protect her – a thing that has never happened before. And Death happens to be a person she can blame.

Death, who is pressing on that bruise ("Your coven is shrinking") and making her shitty day worse because she wants the kid Agatha is hardcore projecting on (and also didn't plan to care about) to die. Just like Nicky.

But Agatha then realises she has leverage on Rio. For the first time in forever, she has an advantage she can exploit. She can be in control.

And it's almost instinctive for Agatha at this point: finding the best buttons to push, the best terms for her given the opportunity.

Agatha: If I deliver Billy, you let me go. Rio: You will eventually die, Agatha. Agatha: But I want you to stop pursuing me. I want you to stop making my life hell. And when I die, a long, long, long, long, long time from now, I don't want to see your face. Rio: ... Okay.

The terms that Agatha sets out seem cruel because they are. She says what she does because she wants it to hurt. Agatha's not only rejecting Rio's continued presence in her life, she's denying all the love that Rio's given her, building on what she's said before ("You gave me nothing.")

From Rio's POV, Agatha's cutting words aside, this entire deal sucks. Because the options are:

(a) Agatha doesn't hold up her end, which Rio knows might happen: Rio knows Agatha cares about Billy ("I know how you feel about him"). Rio's constantly reminding her he's not Nicky. She was already doubting Agatha would deliver her usual number of corpses. She saw how affected Agatha was after Alice's death.

If Agatha doesn't help, she'd be choosing a boy over everything Rio's done again – and this time another woman's.

And if Rio somehow manages to take Billy anyway, Agatha will end up hating her twice forever.

(b) Agatha does hold up her end, which might also happen: Rio knows Agatha's manipulative and smart and capable. More than that, she's well aware Agatha hates her. That Agatha still doesn't see what she's done for her ("No one in history has had special treatment like you").

That she knows Agatha does care about Billy but maybe hates her so much that she's willing to go through with this to cut her out from her life. Billy would be a dear price but one Agatha's maybe willing to pay.

Even if it was a 50:50 chance for these options, I think Rio realises her relationship with Agatha is doomed either way.

Either way she does her job, with or without Agatha's help, she's going to be rejected and lose. One's just a slower path than the other.

I think that's why Rio gives in to her rage and bitterness and spite. Agatha thinks Rio's been making her life hell? She'll show her hell.

And Agatha, well I think there's some merit to the thinking that she didn't expect Rio to fold that quickly and completely.

Now for the context of the second deal, it's not clear whether Rio knows what happened with Tommy. I assume Rio doesn't – not yet anyway – as she doesn't mention it at all and seems focused on squaring that one life Billy stole.

Now here's where it gets a little squirrely, to borrow Schaeffer's language. Because if you don't look too closely, it seems to make sense: Billy stole a life so to maintain the natural balance, Rio needs to take a life, the one Billy has now.

But how does Agatha's life work as a substitute for this imbalance (“This means you’re coming with me”)? Would any other person’s life work? Could Rio have swapped someone else's life to save Nicky then? Agatha would have been all too happy to arrange for that murder.

I doubt the show is ever going to explain this so I offer few possible theories to deal with this weirdness:

Billy Maximoff is a product of chaos magic, so his existence and everything he affects already throws off the natural order, just to different orders of magnitude. Agatha’s life works as a substitute because his life is now intertwined with hers e.g. his hex probably saved her life from the Salem Seven and has the potential for greater imbalance

Rio is aware of Agatha’s tendency towards chaos and defiance of the natural order. Rio bent the rules of the universe only for Agatha. Taking her life would protect the balance in the larger scheme of things – if only so Rio won’t be further tempted to give her special treatment.

When Rio’s torturing Agatha it’s before she presents the second deal. So she’s still intending to go after Billy, she’s just removing Agatha as an obstacle while lashing out in rage and heartbreak.

In this moment Rio probably thinks Billy's in the wind. She saw how upset Billy was with Agatha at the end of episode 5. And Rio knows the reputation Agatha keeps ("Why do you let them believe those things about you?"), Rio probably thinks Agatha deliberately drove him off to keep him safe.

Then Billy pops up and Rio sees that Billy and Agatha care about each other and they're both aware they care about each other.

Fuckin’ great. Rio's not bitter at all.

Looks like you two are finally on the same page. So I'll let you decide. One of you stays with me. The other walks free.

Agatha proposed a deal designed to hurt her? Now it’s her turn.

From Rio's POV, I think here are the possible outcomes:

(a) Agatha sacrifices herself for Billy: Not impossible I think. Rio knows Agatha cares about the boy but she also knows Agatha will do anything to survive. She thinks she's above death. But again, I think Rio also knows Agatha would have sacrificed herself for Nicky if she had that choice.

What did Lorna want from the Road? To save her daughter.

This isn't an ideal outcome for Rio but she’s already resigned herself to losing Agatha I think, one way or another. This way if Agatha wants Billy to live so badly, this is the price she has to pay. The high cost of living.

(b) Billy steps up and sacrifices himself: Very possible given that Billy’s a young heroic sort and already showed up, risking his life to power up Agatha. Rio gets to do her job. Agatha will probably hate her more given the Nicky trauma but Rio’s already resigned to this on some level already, which is why she's raging.

Either way Agatha's going to hurt, and Rio's going to hurt.

It's interesting that when Billy does volunteer himself and Agatha seizes the opportunity to remind Rio of their earlier deal, Rio just shakes her head and looks amused.

You can also see for a brief moment Agatha looking almost remorseful about doing this before slipping her theatrical villainous mask on, overcompensating for her true feelings.

Do you remember pain? It kinda tickles doesn't it?

By the letter (not the spirit or intent) of the first deal, Agatha did ultimately fulfil her part:

I can arrange that. I can get him to the finish line and deliver him to you.

This is an opportunity that's almost impossible to resist for someone as calculating and ruthless and selfish like Agatha. She has power (chaos magic no less), she can have Rio leave her alone forever (she knows Rio honours her word), she knows Billy cares about her but can she really trust him?

But Agatha ultimately decides to take a risk. A calculated one sure, but still a risk.

I think the beauty in the kiss and her sacrifice is how – despite her calculating the odds – Agatha is choosing to give in to what she feels and wants in that moment.

Because she does want to protect the boy in a way no one did for her when she was young. She wants to save Billy like she couldn't with Nicky. And she does want Rio so much despite everything that's happened.

[thehigherseekerastro]

Random Astrology Observations (Alternative Meanings Love Edition) 2 🤨❤️🤔

DISCLAIMER: I am in no way, shape or form a professional astrologer, modern or traditional.

I HAVE been studying astrology for a while now, and analysing charts available to me, as well as my own, and noticed a lot of the info you find online doesn't make sense in real life, because it is too reductive, stereotypical or lacks broader context. So I thought I'd share some of my personal observations to see if it resonates with anyone.

This is NOT the end all, be all. Apply it as it makes sense to you.

**************************************************

The 1st House 🙋‍♂️

The 1H in synastry is a tricky one, because the first house itself is related to our individual identity. It is the house of self. So, when it comes to having a love planet here, things can get really murky. You'll often hear that it indicates instant attraction, but also only surface-level. While that is not entirely wrong, it would be a disservice to reduce it to just that. Yes, first house ties back to your physical appearance and external impact. But what does that mean for someone else being impacted and impacting that? Does it even apply in synastry? The answer is: YES. And it goes much deeper than you'd think. It will talk about an immediate recognition. It talks of being mesmerized by someone's look and demeanor, but that comes accompanied with an obsessive need to know more about you, to be around you, to soak up as much of you as possible, as if to aggressively learn you. And that's because you will tickle all the boxes the person had been holding inside (and vice-versa).

(e.g.: having someone's planet(s) fall into your 1st house doesn't just mean they will be attracted to you, if it's romantic. It also means the person feels like you two share a vibe, share interests, ideas. It means they feel like you move according to their speed, and therefore, that could lead to a lot of trust and comfort on their part, because you feel like a safe place. Not in the same sense as the 4H, but in a more "this person will have my back, cause we're the same!" kind of way. It makes the person feel like you are enough, because you fit them. So even if everyone else disagrees with them or doesn't understand them, they'll sort of look over at you, and if you validate them, that will be enough for them. They'd rather have your approval – since you are someone who gets them – than to have the approval of a bunch of people who don't understand where they are coming from.)

It truly is a beautiful thing, but even positive planets with positive aspects can lead to unwanted side-effects. The house person could come to resent the planet person because of how much they like them. Depending on who the house person is – if they have a dominant or prideful personality, for example – they may come to resent and even become angry with the planet person at times, because they'll feel so strongly for the planet person that they could start acting out of character for them, and that can make them feel like they're losing control of themselves. And as human beings, what do we do when we feel out of control? Shift blame and start looking for culprits. This DOES tend to wear off, though, exactly because of how intensely the house person feels for the planet person, but it can burn hot for a minute or two, specially if they end up getting into an ugly fight and the 1H person tries to forget the planet person, but they can't bring themselves to hate them. They'll get angry at the fact that no matter how hard they try to hate the person, they still feel enchanted by them.

(this could also create an unwanted feeling of "nobody else is like them", so the 1H could panic a bit at the thought of losing the planet person because 1H synastry creates the immediate feeling of the "perfect person for me", so imagine thinking you found the perfect person for you... it can make you feel like if you lose them you'll never recover, because no one else will be like them or able to replace them as perfectly)

All in all, though, first house Synastry tends to usually show up good results, depending on the planets and aspects involved. Another aspect of this synastry that doesn't get talked about for some reason is the fact that they tend to obsess over and notice the tiny details in each other. So it creates this effect of falling for them over and over and over again, cause they'll keep finding little things about the other person that they find enchanting, and THAT'S what creates the physical attraction. It's not that the planet or house person are conventionally attractive to everyone – they might not even fit the beauty standards –, but to the house person, those little details will sort of build up the planet person's beauty step by step, and by the time they catch on, they'll be enamored with every part of them, so, to the house person, the planet person truly is the most beautiful thing ever.

(1H house synastry also brings a 1st house energy to the attraction. NO - NOT ARIES. First house. But it will sound like arian qualities because Aries does rule the first house, after all. What this means is that a big part of the attraction for the 1H person is feeling like the planet person is independent, self-sufficient, confident, self-assured and capable. Because it's taping into their 1st house of self, the house person can sort of see the best of themselves reflected on the planet person, which means they feel like all the things they are insecure to show the world, the planet person has and is not afraid to show them. So they feel like planet person not only embodies their attraction ideal, but also the ideal personality they wish they had themselves. Which they do, but they don't realize it until planet person comes along and brings it out of them.)

First house Synastry is a complex kind of Synastry that is much more psychological than it's given credit for. People often focus on superficial physical attraction and gloss over the fact that it's like somebody is literally stepping into your mind and making your inner fantasies come out. It can feel very vulnerable and intense.

The 7th House 💍

Oh, isn't this one a gem?! Perhaps one of the most sought after in synastry. But the idea here is to provide an alternative perspective, so here goes: if it's badly aspected, or there's other challenging factors involved (the person falling into your 7H is problematic themselves), you're gonna run into the issues people often attribute to 1st house synastry, such as superficiality and a "false love" because 7H Synastry, regardless if it's good or bad, creates somebody who's "perfect on paper". They say the right things, they do the right things, they seem to fit into your whole ideals. But that does not guarantee that that's who they truly are. That's just who you think they are. Remember – the 7H is the house of "other". So it's not about you. It's about the other. But it's rather how you act around said other, and also how you perceive them.

(It's tough to say this, but you gotta be real to help some people out there who might have had 7H Synastry and didn't understand why the relationship failed, since everyone online claims it's a guaranteed soulmate. It's because Synastry goes both ways. And all houses have good and bad. There is no such thing as the perfect Synastry. But in the case of the 7H, I'd say it's the real life case of "if it's good, then it will be amazing. Truly a soulmate. But if it's bad... it will be awful. Just not immediately.)

Going off of the previous comment, another grim way this Synastry can turn out is in its binding effect. And I don't mean anything spiritual or abstract here. I mean literally binding. Imagine a relationship going sideways like that AND you are also now married or share a business together. MESS! This is the house of contracts and long-term. Remember Saturn exalts in Libra, because Libra likes things that last, and Saturn is the planet of long-term, so the house of Libra will sprinkle that lasting effect over whatever it touches. And if you're in a 7H relationship, that relationship will last with you, whether good or bad. It will take A WHILE to break off from it, either mentally, emotionally, psychologically, legally or financially.

(e.g. somebody has their moon in your 7H, but it's a moon at fall, in Scorpio, and it's afflicted in their natal chart. Now, at the beginning they will seem like a gift from God directly to you, so much so that you decide to make it official... And then, one or two years in, living together, each day it gets more toxic and draining and the dark sides just oozes out of your relationship. But now you are legally married, and divorcing will take time, bureaucracy, money and emotional energy, not to mention you'll have to uproot your entire life, explain it to your social circles and families... And what seemed like your dream come true was in fact a bitter lesson to learn).

To veer away from the dark twists of the last ones, let's dissect the correlations people make with the 7th house, like "oh, your spouse will be interested in art, and beauty, and music, and sophisticated things!" Why? Are you marrying a Libra? A Libra rising? Somebody with a Libra Venus? No? Then that has nothing to do with 7H Synastry. Houses are not signs, signs are not houses. Libra is one thing, the 7H is another. Venus rules Libra, which resides in the 7H, but Venus doesn't rule the 7H. It merely influences the 7H. It would be a better guess to say you might have met your person while they (or you) were already in a relationship than it is to say you met because of beauty-related things, or art, or music, since the 7H doesn't talk of any of those things, but it DOES talk of committed relationships.

(e.g. you might have met the person right after they (or you) got divorced. They might be connected to an ex of yours. Or another possibility that isn't talked about is how the person you eventually end up with is someone you have liked for a long time, but never got the chance to be with until now. Since this is the house of long-term relationships, having placements here could indicate that the person you ultimately stay with long-term is someone you already knew prior to getting together, but you needed to experience other relationships before you united with them.)

Another final aspect of placements in this house is the fact that it doesn't just deal with your love relationships, but also the way you consciously present yourself with others. How you behave socially. But also the mirror effect of this house, speaking directly about love. This is, after all, the house directly opposing the 1st house of self. In that regard, this is similar to 1H synastry, with the exception that in this one, instead of you coming out of your shell subconsciously, you make a conscious effort to become your best for your person here. You want to live up to all of your potential.

The 2nd House 💆‍♂️

This one is a bit tricky for me, because I'm not materialistic AT ALL. I have a Taurus Lilith in the 2nd house, so, I express it on the other end of the spectrum. When you have that placement, you either put too much value on money and material things, or you are completely unattached from it, and that's me. So the whole "money this, money that!" vibe is not my scene. I don't see a price in life, I see value. With that said, let's get this going.

Yes, this is the house of money and material things. Yes, it will deal with your personal finances. But no, unless other parts of your chart/Synastry agree with it, somebody's placements falling here should not have a lasting effect. It might merely indicate you overspending on dates and gifts. The 2H is the house of YOUR money, which means that the whole "oh, they're gonna shower you in gifts!", "And this is a sugar baby aspect!", "Your person will want to spend all their money on you and buy you expensive things!" is probably not gonna happen, sorry. If it does, it will be you spending your money.

(And if you do spend your money, the whole "gifts" thing is also not that common, because normal people don't just go around buying gifts for others every other day of the week, unless they have some sort of imbalance. Such a consumerist mindset! Not everything is about paying for things or buying things. That's a VERY American culture of dating, specially for women. This nasty idea that a man has to buy you or he's not good. Which is what encourages habits like thinking the man always has to be covering your finances (how old are you, 5? Get a job and pay for your own damn self! You are an adult woman), paying for your food, buying you a house, giving you gifts all the time and affording expensive dates. You are not a product. If your biggest incentive to be with a man is because of how much he pays for you, then that's the world's oldest profession, not a relationship of love. So this should play out more like them helping you manage your own finances. Don't go around thinking a 2H love placement is gonna turn you into Cinderella.)

If you do happen to be a stay-at-home person in your relationship, which is valid, as long as it's not all about money, 2H love placements and synastry will talk more about other material aspects of things. It will talk of stability, sustainability, longevity and security.

(e.g.: it could mean that you allocate your resources towards creating a safe, stable environment for your life together to flourish, such as buying things for your home together, revising your finances to make life goals and plans together more viable, setting budgets to achieve milestones together... as well as the literal physical aspects of valuables, so using your resources towards nourishment (food, shelter, clothing and health). Things that will ensure your relationship lasts and endures through hardships and tribulations. In the 2H of values, Synastry could indicate the relationship itself becoming your prized possession that you take care of. All the Earth houses are about caring for things, just in different ways.)

Another poorly explored aspect of the 2H is values in the moral, spiritual and emotional sense. It's WORTH. Both the causes you find worthy as well as your self-worth. A 2H love placement or Synastry can and will directly affect that. Even if you do happen to be dealing with financial/material things too, that can affect your self-worth directly.

(e.g.: say you are married to someone who is constantly in debt, or say your spouse is the breadwinner of the household and you depend on them financially. That can really take a toll on your self-worth. It can bring feelings of poor self-esteem, can you make you feel undervalued, inadequate, make you feel like a burden, or make you feel incapable of caring for yourself. It can strike your self-confidence and make you VALUE yourself less. Or the opposite. Your spouse may open you up to new possibilities of making money, which in turn gets you into a new passion project that you succeed in and that can make you feel like a worthy person, make you believe in yourself, make you feel important and valuable.)

I would argue that most often, it's the 8H Synastry that will really have your partner's materials affecting you, because the 2H is the house of your PERSONAL gains, while the 8H is the house of OTHERS' gains and possessions. Most often, the biggest impact I'd say 2H love placements have will be dealing with self-worth, self-confidence, shared values and morals, feelings of belonging and acceptance.

General Things ✨

What I see most often is that positive and negative outcomes tend to happen simultaneously. It's not all doom and gloom, but it's also not all sunshine and rainbows all the time. Sometimes it's great, sometimes it's not so great, and those ups and downs come and go. That's just life. Both are there to be worked with, worked for, or worked through. At the end of the day, astrology will not mandate your life events, and you have to always be learning from your life, and working on yourself and the things that matter to you. Astrology is just a guiding light to identify possible themes to be mindful of.

**************************************************

That's it! Thank you if you've read it this far! I might have come off a bit harsh (I hope I haven't), but I promise I'm nice lol.

My whole goal is to try to discuss astrology in as realistically as possible, but while making it clear that any possible outcome is plausible. If most times all you hear are fantastic stereotypical descriptions of placements, such as 7H, the not so great ways in which it can play out will be explored here to help people navigate them. If all you hear are bad things about a house, then I'll try to show the positive ways in which it can come out.

The whole point is to try to bring a wide range of notions to these descriptions, together with the information that is already out there and available by many other creators.

At the end of the day, remember this is all POSSIBILITIES. Your personal life has to be analysed to know what's gonna ensue. And don't be discouraged, because the truth is that positive and negative effects tend to happen together for your best.

Hope you have a good day when you find this!

MASTERLIST

[scourgeofmyownbrain]

More "Bumblebee and Optimus meeting as ✨Adults✨ but still being Father and Son" stuff I came up with, plus extra because I can't get these chuckle-fucks out of my head.

Link to my prev. post for context. incase yall missed it bc I'm not explaining myself, we're just diving right into the deep end

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Bee knows Optimus isn't one for physical affection, and he fully understands and accepts that. He doesn't want to make Optimus uncomfortable by disrespecting one of his boundaries, that's just a shit thing to do. And Bumblebee is not a shit person. But... he's also desperate. Look, being deprived of physical parental affection your whole life fucks you up something good, let Bumblebee tell you, it makes you do some odd shit just to get a taste of what you've been missing out on. And! And most of the stuff Bumblebee has done are perfectly normal things to do! Plenty of casual stuff, leaning against his chair to look at what Optimus is working on, high fives and fist bumps (Optimus rarely, if ever, does these but for Bee he'll do anything just to make him smile, see Optimus acting totally normal about his feelings what are you talking about), leaning against him for a second when he's tired, totally normal! There are, less normal things, like when one of Bee's legs nearly got torn off on a mission and Optimus had to carry him back to base and Bee curled up close in Optimus's arms the whole time- because of the pain, totally 100% definitely only the pain that was Not mostly taken care of by some field anesthetics. It felt nice to be carried like a kid, sue him.

Getting injured is a special case with giving and taking affection. For example, when Bumblebee had to drag Optimus to a med bay after he passed out from a mission. They were walking into the common room together; Optimus was telling Bee he was fine when he CLEARLY wasn't because he didn't want to wake the medics for something as Trivial as THEIR LEADER and FREIND'S HEALTH (Bee is this close to strangling him) when Optimus just pitched over onto the floor.

Optimus, clearly tried and hurt: I will be fine, there is no need to wake the medics, I just need some energ... *faceplants*

Bumblebee: What did I say? What did fragging I say?! *Hefts Optimus's limp body onto his shoulders* fragging, stupid, slagging, moron, 'I don't need a medic, I'll be fine' he says, if I had been the one doing this, you would have torn the base apart getting the medics up, fragging idiot. *drags Optimus's body out of the room*

Optimus: *Mumbles something about not wanting to bother anyone*

Bumblebee: Too fragging bad, big man, you are going to take care of yourself and you're going to like it!

So now Bee has to drag a bot much bigger than him back down the hall and into the Medbay, just because Optimus was being fucking stupid. Yes it looks as funny as you're thinking. Optimus is semi-conscious but delirious as they make their way down the halls of the base and says "I don't want to take anything that would be better served helping any of you, I care about all of you so much I don't want to see you hurt. I love you." and Bumblebee's like Optimus, I feel so loved and so angry right now, but fuck what you want you're getting taken care of. No, you did not just make my fucking day, I lOve yoU tOo dAd-. He gets Optimus into the medbay on a berth then goes to forcibly wake the medics up to calm himself down because he is seconds from crying.

Optimus eventually gets better with affection, and now Bee gets a hug whenever he asks. He has yet to come down from this high.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Bumblebee calls Megatron his "Shit Ex-Stepfather". The entirety of team prime thinks this is hilarious. Even Optimus can't help but smile, though he tries to hide it. Someone, probably Jazz, changed Megatron's file name to "Worlds Worst Stepfather". After the war, if Megatron is still alive, he will mysteriously acquire some kind of award saying "Cybertron's #1 Worst Stepfather". He is very confused.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

If you could get Optimus drunk, he would become such a sap. Like, insufferably soft and emotional. And he would be talking about Bee damn near the whole time. He would be so annoying.

Optimus: *Drunk* Did I ever tell you about Bumbl-bee? He's, he's my boy, my bumble boy, my gold'n boy, my buzzy boy, my sweet cheese. An, he's really yellow, you'll know it's him, he looks like- he's really yellow, it's hard not to see him, but he's really really good at sneaking. Even though he's so yellow. He can sneak around so good, no one sees him. I can see him, 'cause he's my boy. He can sneak around and nooo one finds him, 'cept me, 'cause he's my boy. He can hide so good, he hid under sshockwave's chest once. Riiiight under his eye, his big purple eye. Bee's so funny, he tells such funny stories. He tells his stories better then me, they're a lot funnier. I'm not good at funny stories. He's really good at it. He's really good at lots of things. Bee's so cool. I'm so happy he's here, he's so cool and funny and nice and cool. And he fights real good too, he's so cool. he once- Bee once punched my ex once, right in the face. Riiight in the kisser, just, boosh. My ex sucks, Bee's so cool. I like him, he's my boy. An-and he taught himself how to do aaaaall the cool things he does. He didn't have anyone to teach him, he did it all by himself. All alone... I wish I met him sooner, when he was small. He says he was really cute when he was small and I want to see him small. I like him big though, he's really fun when he's big. He's- *Sobs* He's my booooy, and I love him so muuuuch.

This continues for hours. Luckily he never drinks so no has to suffer through this.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

If you thought Optimus was the Serial Adopter, you'd be wrong. It's Bumblebee. No bot is safe from his clutches. He scoops up family members like a pelican scoops fish. Optimus is barely aware of how many family members he technically has, he stopped keeping track a long time ago.

Bumblebee: *Bursting into the room dragging some bot he was on an extended mission with* OPTIMUS, I GOT ATTACHED AGAIN YOU'VE GOT ANOTHER FAMILY MEMBER

Optimus: *Not looking up from his data pad* That's great, son, go put it with the rest.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Optimus would be such a good grandparent. In the future, after the war ends, Bumblebee comes into possession of a kid; whether he finds someone and takes them under his wing or he just fucking makes one, I don't know nor care, but he gets a kid. And when he introduces them to Optimus, Optimus just fucking melts. He was already a huge softie before but he's so much worse now. He goes full grandma mode. He has snacks in his pockets (or whatever bots have) that he sneaks to the kid every time he sees them. He gives them money at random. You best believe he would destroy anything that even looked at his grandbaby wrong (Bee: Optimus, stop attacking the door. Optimus, the door just bumped them, they're fine. Dad stop, omp(rimus))

The "Bee finds a kid and both of them get attached and now are a family" is the funnier option. Because the kid knows who these guys are, they saved Cybertron. The kid's still getting used to having Bee as their guardian, so when they meet the 13th Prime: Holder of the Matrix of Leadership, Savior of Cybertron, they don't expect Dotting Grandparent Extraordinaire.

Bumblebee: and this is Optimus Prime. He's your Grandpa.

The kid : *nervous* He's my what?

Optimus: *on the verge of tears* mY grAnDbABy-

The "Bee made a kid" version is still pretty funny.

Bumblebee: *Exasperated* Optimus, give me my child back.

Optimus: *violently crying* nO, It'S mY bAbY nOW.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Imagine, if you will, Optimus and Bumblebee sitting on a roof together, not talking, not touching, just watching the sun set. Just enjoying the silence together, maybe with some energon to go with it. Because they get it, oh they get it. Sometimes you just need to be alone with someone. That good mutual respect and love from a found family that understands you. this is why I need bee to be an adult, I need both of them to be hurting and find some comfort in each other, to find solace in each other, to be a family and to be equals, is that too much to ask?

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

A list of things Bumblebee is allowed to get away with:

Interrupting Meetings to Tell Optimus Something, important or not (hi dad)

Casually touching the Usually Touch Adverse Optimus (Physical affection ftw)

Calling Optimus out on his self-sacrificial bullshit (you're going to see the medics and you're going to like it, old man)

Using the three points above to drag Optimus into the Medbay by force (Ratchet is so smug about this)

Getting Optimus to do something fun and relaxing (father son bonding time, as Bee says.)

Swearing aggressively (for everyone else it's unprofessional, for Bee its therapeutic. He stretches this excuse as far as it goes)

Making Insulting comments about others to their face (look they deserve it if the Perpetually Friendly Bumblebee is saying it)

Talking about Megatron (Usually team prime avoids talking about Megsy outside of war related convos out of respect for Optimus's history with him. Bumblebee does not give a shit, Megatron is a bitch and he's going to make his opinions known (Everyone thinks it's funny dw))

Illegal activities (this fucker street races in every universe, you think he isn't doing shit like this on the daily?)

Murder

Stealing/Sneaking snacks (he shares with Optimus)

Making jokes about Optimus being his dad (he thinks it's funny bc they're not related and they met like 6 years ago. Optimus explodes with emotion every time bc you consider me good enough to be your dad?)

Bee is a fucking menace, Optimus loves him so much.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Misc. funny word vomit I came up with that have no context, reason, or sense

¯\_(ツ)_/¯

Optimus is working at a desk focusing on some data pads. A tiny energon cube flies into frame, bouncing off Optimus's forehead and landing on the desk. Optimus grabs the cube and eats it without looking up from the datapad. A few minutes pass, another energon cube flies and bounces off Optimus's head. He eats it without looking. Bumblebee is sitting off to the side in the room with Optimus with a bag of energon snacks, periodically throwing one at the distracted Prime. This is Bee's and Ratchet's newest scheme to get Optimus to actually eat, and it's working splendidly. (Actually, Bumblebee originally was throwing the energon onto the desk, but over time he got bored and started just throwing the cubes directly at Optimus. He hasn't noticed any of the cubes hitting him at all, so Bee's started trying to do trick shots.)

¯\_(ツ)_/¯

"Are you sure this is a good idea, Bumblebee?"

"Absolutely, now throw me."

"Alright... Three, two, one- Ngha!"

*distant loud metal slam*

"..."

*distantly* "I'm good! We're in business!"

*quietly* "oh thank primus..."

*distantly* "Okay, I'm done. I'm coming back down."

"Wait-"

*distantly* "Hup!"

*loud crashing metal noises*

¯\_(ツ)_/¯

It's early morning, everyone got back to base late the night before. Everyone is tired. Optimus is sitting at the table in the common room, slowly drinking a cube of energon. His eyes are half open and bleary. Bumblebee is beside him, head in his hand, dozing. Bee's head falls from his hand and slams onto the table. Optimus doesn't even blink at the noise, just takes a sip of energon.

¯\_(ツ)_/¯

Bumblebee takes a lot of pictures. Mostly of his team. He's pretty sneaky about it too, usually just taking a capture from his visual feed and saving it to his personal datapad. And at a glance none of the pictures are all that special, captures of a group of bots hanging out between missions, selfies of Bee and company on missions, drunken mishaps, quiet moments, he's got this really funny one of Cliffjumper stuck in a storage closet, but Bee keeps all these photos out of sight. The others are aware of his habit but they never see most of the photos, they never ask. Bee only opens his photos folder when ever he has a quiet moment alone and just scrolls through, reminiscing. His favorites are the ones where he caught someone's genuine smile. Sometimes they're in the background of a larger group shot, or it's just them smiling at Bee in conversation. He's got a lot of Optimus's smile. Optimus doesn't smile a lot, but he always seems to smile when Bee's around. Bee's proud that he can do that for him.

¯\_(ツ)_/¯

this could literally be anyone on team prime: *teasing* You playing favorites, Prime? Giving Bumblebee all this special treatment is making the rest of us feeling left out.

Optimus: You all treat him the exact same way I do.

again, literally anyone on team prime: ... Touché, Boss bot, touché...

¯\_(ツ)_/¯

After spending an extended period of time in close proximity to Megatron (for what ever reason), Bumblebee and Optimus talk.

Bee: You had terrible taste in partners.

Optimus: *sighs*

Bee: Physically, I can see the appeal, but everything else is a wild thing to say yes to.

Optimus: ...

Bee: His personality, his interests- just why none of that clocked you onto how fragged up he would be is beyond me.

Optimus: ........

Bee: You're not stupid, I hope that your next partner will be leagues better than him. Ratchet maybe, oh or Elita, they would make great partners (and even better step-parents), or maybe-

Optimus: CanwePleasestoptalkingaboutmylovelife??

¯\_(ツ)_/¯

Bumblebee: If you get back together with Megatron I'm disowning you.

¯\_(ツ)_/¯

BB: This is... so dumb.

OP: The higher I am the better I can see.

BB: You can- You can fly.

OP: Hush now Bumblebee! I am searching...

¯\_(ツ)_/¯ idk man, brain rot hits something different when I think about it for long periods of time

[nadas-dirthalen]

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

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

[ 1 ]

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

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

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

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

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

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

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

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

That said, today I hope to cover:

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

The Protagonist: Why Rook's Perspective Matters

The 3 Act Structure: Our Lens

The Companions: Paths to Our Answers — and Future Games

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

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

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

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

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

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

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

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

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

Specifically, they needed Rook.

The Protagonist: Why Rook's Perspective Matters

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

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

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

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

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

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

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

The 3 Act Structure: Our Lens

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Companions: Paths to Our Answers — and Future Games

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

_____

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

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

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

[utilitycaster]

#reblogging for the “see: girlfailure” tag#caus I have opinions on the insular fandom memeification of characters but I don't - as this post highlights - have the words for it#but I keep those to dms caus anytime I or a friend has challenged it in a public space it gets shot down#it reeks of my troubles with the general fear of using the word woman these days and how it's girldinner this girlmath that#also what do you call as intentional character traits vs a flopped dice roll

(via @distant--shadow)

so I agree and this is interesting to me because what always frustrated me about "girlfailure" outside the more general issue of "um, coquette/bimbo/girl dinner/uwu soft divine feminine cottagecore domesticity don't you mean u want to braid her hair is actually TRUER feminism than being the surly woman who loves math and sword fights and hates sewing" and the fact that, as you said, it mostly came from bungled dice rolls and no real intent, is that the same people who call her a girlfailure insist that Imogen is the main character. And like, she kind of is! And yet - and I've said this about Imogen and Laudna in the context of their relationship but I'm going to not include that because I actually don't think that's even relevant, it's about them as individual characters as well - people want them to simultaneously be The Main Character or at least heavily in focus and also never, ever have any agency. Like, they want "capable" to mean that everyone likes you, and not that you are a person who makes hard choices for the better.

Maybe it's because I'm playing Baby's First RPG right now, but the deal with RPGs and I think(?) especially this one, is you must make every choice and it is laden with consequences (not that I as a D&D player, or, you know, a human woman, am unfamiliar with that already) but what drives me nuts about the just a silly guy! girlfailure! she chooses to be good and therefore is good narrative for Imogen, and the "stripped of choice" (another highly repeated turn of phrase) for both her and Laudna is that it's untrue and it means nothing. For all my criticism of What Doesn't Break, Laudna makes choices. I frequently dislike them and wish they had more gravity, but she does make them. She doesn't make every choice - notably, her death and Delilah's presence are huge things that happen to her without her input - but even while barely herself she frequently brushes off Delilah. You can imagine the dialogue trees and the paths she takes, to intervene or not. She decides to renew her pact; she decides to run into the desert. Imogen decides to attack the villagers with lightning to defend Laudna. She decides to leave, she decides to keep burning their rivals in the Twilight Mirror Museum, she decides to tell her mother that she won't join her, she decides not to help assassinate her mother.

Fearne has a wonderful line when she's talking with Chetney after shardgate, in which she explains that she's terrified of making bad choices. Not of being a bad person, but of making the bad choices. And that's the thing. You cannot choose to be good. You cannot choose to be bad. At least not in any general sense. You can, however, make choices that harm people or help them. You constantly must do this. You can stray, or change the type of choices you've made, but they do accumulate to a point, eventually, where it becomes harder and harder to stray. However, the premise of D&D is very much that your character hasn't become locked in, yet. Is Imogen making choices that will be better for other people? If the world rests on her shoulders, is she making better choices for the world?

This is perhaps the core theme of this campaign, dating as far back as Downfall. Aeor made their choice - many, many choices. The gods made theirs. Ludinus kept making his, over, and over. It's particularly resonant among the women of the campaign. Obviously there's Fearne, and I've covered Imogen and Laudna, but going over to the Crown Keepers, Morrigan becomes a paladin in a few short weeks - an immense choice. Fy'ra advises others on what they are going to do. And Opal is where she is now because in one moment she put the crown on her head - and in doing so, ceded further choice in the long run. The deities of both fate and free will in this world are given considerable presence in this story, and both use female pronouns.

Maybe I'm making a mountain of a molehill, but I don't think I am. I really do think people cling to "girlfailure" and act like we're just being meanie haters who don't believe Imogen is good because she can be the central character who has power to change the world and the narrative; or she can be pure and innocent of all wrongdoing. she cannot be both. No one can. And deep down I think the "girlfailure" proponents prefer a useless innocent girl to a powerful woman who sometimes makes choices or does things that hurt other people. So I don't think that one's just harmless meme-ing, and if you want to see Imogen as an exceptionally important part of this narrative I think you have to reject the girlfailure, and anyone saying "oh it's just a joke" is either unthinkingly repeating or is pushing a story where Imogen is just a MacGuffin without agency, and neither is worth, in my opinion, listening to. Someone "stripped of choice" in real life is worth our pity and deserves our assistance but they make for a pretty terrible fantasy protagonist, and it's maddening to see a woman in the center of the story and then to be attacked if you want her to be treated like a person who, as a result of being a key protagonist, holds particular power and isn't just a girlfailure.

[chuunyu]

thoughts on this take?

https://www.tumblr.com/stupid-juku/766965711651454976/daily-reminder-if-sega-confirms-that-mizuki-is

Their explanation is under their notes in the comment section.

I personally disagree but I was wondering what was your take

Ya this is wrong and not paying attention to canon!

I'll quote here what @stupid-juku said: "daily reminder: if sega confirms that mizuki is tfem they will be the WORST trans rep :P

At first Mizuki doesn't have gender dysphoria, at least it hasn't been shown. The idea was for this character to break gender stereotypes, to show that clothes are just a piece of fabric, and pink is not just a girl's color, while showing what they had to go through because of this ... but if devs confirm that they are cis, who just loves girly things, it would show how society is still affected by gender stereotypes and how people who love things that do not belong to their gender getting bullied even by so-called 'queer-friendly' society. They pretended to be a girl to avoid being bullied for their interests and taste in clothes. They reacted this way to the revelation of their secret because it was not they personally who did it, but someone else and their deception flared up"

Does Mizuki have gender dysphoria?

Yes! We can see this in their depression during their period of self repression during middle school, where they were suicidally depressed. Part of their depression was how nobody would accept them, part of it was their sister leaving, part of it was how after giving up their love for making feminine clothes, etc, they didn't really have anything left.

During their repressed period, we can also see that the mirror in their room was covered with a sheet, meaning they couldn't bear looking at their body, face, and/or short, masculine hair. Their masculine form was too painful for them.

So, Mizuki can't bear to see themself in a masculine form and they're extremely depressed in part because they are forcing themself to repress their identity. If their mirror wasn't covered I wouldn't say this as confidently, but this is a textbook example of a dysphoria.

Could Mizuki be cis? Are they just an oppressed femboy?

No. Think about it. Mizuki lives literally every moment of their life presenting female. If they were a crossdresser, femboy, or any male-aligned identity, they would get gender dysphoria against being a woman and this would lead to them going in and out of a feminine gender presentation. In addition, having to pretend to be a woman would be deeply distressing and Mizuki would be written MUCH differently as a result. That would be a whole giant, separate struggle that Mizuki's story would have to deal with.

Mizuki definitely WANTS to be a girl.

We can also look at how the songs portray Mizuki

Kuyamu to Kaite Mirai and Phony both have lines about how Mizuki sees themself and their body. Kuyamu to Kaite Mirai

“If it’s like that, why are we in this world in the first place? In such imperfect bodies? Even now, now still having hearts.” 

Their frustration over having an “imperfect body” makes a lot of sense for a character who wants to live their life as a girl, but has the body of a boy. We have also been shown this frustration in the story like I just explained.

Phony

“Why, oh why, does it hurt here so much.”

Let’s edit this quote so that it can make sense out of context. In context, this would be more like:

“Why, oh why, does [being a phony] hurt so much.”

This line, as sung by Mizuki, is telling us that one: Mizuki feels like a phony, and two, that being one hurts. If we think back on the line from kuyamu to kaite mirai, about Mizuki’s frustration over having an “imperfect body,” we can see what they mean by phony. Mizuki is someone born male, who wants to be in every way a girl. As much as they try to pass as a girl, they will never be able to change their birth sex. Being this way, how could you not feel like a phony? So, of course it hurts them, feeling like a phony.

Some other bits from songs and cards:

In IDSmile, they call themself a "minority," using the japanese loan word that can specifically refer to sexual minorities AKA LGBT people.

They sung in Villain. It's literally a song explicitly about being trans. It has a manga about a gay man and a trans man falling in love. Like!!!!

if we take a look at the 3D music video for the song where Mafuyu and Mizuki both perform together, when Mafuyu says the line “I take on the form of a boy in front of you,” Mizuki waves to the camera with a smug expression, making a peace sign as the camera cuts away.

What is this trying to say? To me I think this is Mizuki trying to get our attention, saying “hey! This is the sorta thing I do!” However, this shouldn’t be confused with crossdressing, as this song isn’t talking about crossdressers, it’s talking about trans people. So really, what is this saying? I think this is Mizuki saying: “hey! Look! I’m trans!” or, maybe I’m insane, and this little wave meant nothing, but from all that we’ve seen, I think it’s true. After all, the writers are very, very intentional.

Also, like in the card “Between Feelings and Reality,” they are depicted symbolically as a butterfly. It happens SO MANY TIMES. In the trans community, the butterfly is a classic trans symbol, and in Japan, it represents becoming a mature woman.

Like how can you see all of the things from the story and songs talking about Mizuki's frustration over their amab body AND see the otherwise BLATANT trans coding and think "Mizuki could possibly be cis." No. Literally no.

Anyway,

While I too have little faith in Japanese companies to put an explicitly trans character in their game, I don't think that the writers EVER intended for Mizuki to be cis in any way. It's clear that they are frustrated over their body - they're gender dysphoric. They WANT to live their life as a feminine presenting person but things get in the way and they aren't able to truly be themself in the way they desire.

I think Mizuki is great trans rep. No, they aren't perfect, but I love Mizuki in great part because of how deeply I see my life in theirs. Sometimes it almost feels 1:1.

If you like what I said here, a lot of this comes from my video essay that should... hopefully be done before the end of the month. In it, I'll explain all of this in way more explicit detail along with clips from the story.

Anyway, sorry to the random person who I just tore apart. No bad feeling towards you!

Actually, wow there are some fucking idiots in my comments I'm not sorry anymore. If you don't even speak Japanese, get the fuck out of my comments trying to say you know shit about Japan. Thanks, bye.

[bisnes-socks]

i said i might do more in depth thoughts of stephanie and so i did.

the first post was a bit rushed but many of the points very much still stand, this post i guess is just trying to make the same points a bit better and deeper. so idk how much of a musical analysis this is, and how much i'm just trying to put vibes and feelings into words, but here goes.

i said in the first post how i like that the structure isn't the usual verse chorus verse chorus - well, actually it kind of is that, but the chorus doesn't feel like an obvious chorus, because they only play it twice and it's not the same those times. there is almost a pre-chorus like feeling to it, and then the song ends in what could have been a bridge, if the song was longer. this song to me feels like a part of something bigger, and that's why i'm super excited to hear in the context of the full album. with that being said, i still think it works super well on its own as well, i really love the vibes.

the early 2000's brit rock and indie rock influence, such as arctic monkeys or black kids, is still quite obvious to me, but so is the 80's influence as well, like orchestral manoeuvers in the dark was the first one that came to my mind. then again, the 80's influence on early 2000's brit rock and indie rock in general is also pretty obvious, so i think influences in music in general should always be seen as a spectrum, rather than fixed, separate points. everything is always influenced by things that came before it, and what we can name as an influence on something will always depend on where we've heard a specific style or flavour or spice in music first.

it's a different sound than what we've heard from them before. i don't know if this makes any sense to anyone other than myself, but to me, the sound on this song is the sound of a collective more than the sound of the band. what i mean by that is that there are so many elements in the song that are not straight forward band instruments, or instruments that are in their usual line up. this sound is produced by five professinal musicians working as a collective, rather than five band members playing their respective instruments simultaniously. does that make any sense? i don't know, but it's how i feel - like there could be more people on this song than there are. but i think the best songs always do sound like all of the people who made it, not just one or two.

like i said in my first post, the drums are super interesting in this one. the drum machineness of it all, the super 80's style drum fills, the percussive details of little pings and pangs that decorate the track, that's all something that hasn't been super typical in pop or rock music recently, and harkens back to the 70's, 80's and also the early 2000's indie scene. it's super interesting to listen to, and i can genuenly recommend taking the time to listen to the track a couple of times focusing on just the drums and percussion.

in fact, i'd recommend listening to the track (this track and honestly just songs in general) several times, always choosing a different instrument or element to focus on, because there is a lot of cool stuff going on in this song! vocals and lyrics often take the main focus, but i always find it worth it to carefully listen beyond the lyrics.

the drum parts are also just genuenly fun. the drums and the bass make it a very dancable song, which again, it's both very 80's and very early 2000's to make super bop-y, dancable songs with sad or dark lyrics. the contrast is quite yummy to me. it also brings a vibe to the song i really really love. it reminds me of a quote about movies, about how drama movies should always have a little bit of comedy in them, because that's how real life is. there is always always both light and dark, sadness and happiness present in everything. crying and laughing all at once. that's the vibe of the song to me, and it's brilliant.

the song has so many layers to it, it's honestly brilliantly mixed: there's something happening in almost every direction, every distance, so to speak. and so many different synth sounds! sharp strikes here, notes held there, runs here, backround walls there. take a moment to find them all, it's super rewarding and again, genuenly fun!

the vocal delivery is also a cool contrast with the musical aspects. the voice doesn't convey a lot of emotion, on purpose i think. he sounds a bit numb and detached, and the music being so whimsical with all of its details and decorations, it's just a really cool juxtaposition.

and at the end, repeating the lines about love and happiness not being built for people like me, with the guitar playing the same melody, when the vocal line and the guitar line go out of sync and he starts repeating the lines to a different rythm, i think it highlights the juxtaposition even more, it's like.. it's like he's not even listening to the whimsy of the music anymore, but getting carried away in his own head by the lines. and repeating them in an almost monotoe way.. i just think it's a brilliant way to deliver the emotion behind the lyric.

but the song ends in the major key whimsical runs on the keyboard with a very fun percussion rythm, and so i think ultimately the mood left behind by the song is quite positive. it's melancholic sure, a bit angsty yes, but at the same time it's not a depressing feeling. 

like i don't know how else to put it, but the whole song is like. everything is going to shit in your life, but you're on a walk and the leaves are super pretty colours and the weather is just perfect, and you breathe in fresh air and it's like. yeah everything is kinda fucked but right in this moment, right at this minute, it's all kind of.. okay. and for a split second you can imagine a future where things are less shit. where maybe happiness and love are built for people like you.

[yanmuffins]

Between the two options,i choose the first one cuz i want to see some artsy,flirty reader . Also i remember from your context bruce tried to make her robin but it was unsuccesful. Reader must think now she's unworty and so she isn't too much angry . Thus i don't believe she would like to be with the sword where they are rather strict to who they choose as worthy to join them . In her place,i would prefer the way rose's sire coddle their childe and show genuine even obssesional interest to mortal they like. Like i can see why reader is motivate to continue to work with them even if she's sleep deprived because she knows there she will be showered with affection.

context &. context.

third and last team toreador anon for now!!

reader does have a bit of a complex about not being robin. it's not because she wanted to learn to fight and beat up criminals so badly, but mostly because she failed bruce and feels like she lost her chance to be worthy of his attention. it doesn't help that she's pretty much replaced by jason shortly after.

but you do bring up an interesting point... the ventrue might be too suffocating a clan for reader, she'd be more easily seduced by the clan of roses, and considering they're so very good at making her feel loved, it only makes sense.

i wasn't thinking of reader's sire becoming obsessed with them, but the obsessive nature of the roses in general might be someone to keep in mind as i write!

[arcane-ish]

I mean, why would getting beaten for years make her kinder?

I have a kinder view on her, but my verdict after S2 Act 1 was also that Vi has no connection to Zaun.

My head canon is that she was far away from Zaun for a long time and after she emerged it was completely changed. Zaun was the idealistic warm place of her childhood to her and when she came back she found it "poisoned" by Silco. She doesn't feel at home there anymore. Maybe she blames it for "ruining" Powder.

The frustrating part being, okay, even if Vi is the kind of person who dislikes and looks down on the dirty immoral parts of Zaun (rather than seeing that as a result of their oppression or seeing beauty and potential in the depravity there), she has been to Ekko's tree. She has seen the nice/happy/friendly parts of Zaun. Shouldn't she feel at least protective of those?

My take is that the approach of the writer is that Vi has a more general sense of morals. She protects people who get attacked, whether it is a Piltover Elite or the little Zaunite girl. She has indeed neither class conciousness nor hard loyalty (in season 1 her goal was to bring down Silco and she had no problem teaming up with Piltover to achieve that goal via the chem factory raid, she didn't even think of rallying Zaunites against Silco, she went for what was easiest and the biggest stick)

And I don't see how that is that much of stretch. If Vi is not a big thinker, why should she have class conciousness? Having just pariotic loyalty to a place without class conciousness or larger historic context is something that still works for a "not a big thinker" person, but I could easily picture the writers seeing Vi a decidedly not that. There are plenty of scenarios where unthining patriotism isn't a good thing, so the writers might actually see that a creative wrinkle that Vi is more of a universalist who doesn't distinguish anymore where people are from. (and yes, maybe people who get treated with prejudice react by locking deeper into that identity, but it is not that out of the ordinary that they could also react with "it shouldn't matter at all where people come from")

IMO Vi emerged from prison and felt like she didn't have a home anymore because her second family was dead and everything she knew looks different. And yes, Vi's first family was killed by Pilties but her second family died becuase of an inner Zaunite struggle. So is it really that out of the ordinary that she might have mixed feelings about Zaun?

The way I read it Vi at this moment doesn't particularly like Zaun and she's feeling her way around. She feels like she doesn't belong there, doesn't fit in there and so she's trying to feel her way around if she can fit into Piltover (especially if Caitlyn is luring her in with "actually we are trying to reduce harm to Zaun, it's moral of you to join, because you are actually trying to make things easier").

Act 1 ends with Cait and by extension Piltover rejecting her. And based on the trailers it looks like Vi is going to dive deep into self hate and with that deep into the most violent parts of Zaun. Which to me suggest that this reflects that she has a low opinion of Zaun, that this is where she goes when she's at her lowest and self-hatiest.

Again in a world where even if she doesn't fuck with the darker seedier parts of Zaun and has no motivation to let's say be another Silco or Vander to try to slap down the chem barons, sort of pacify Zaun or even rally it. ... she could have just joined up with Ekko and tried to to just do nice things and help orphans.

But it seems likely that that's not how she's going to react. She could take her rejection from Cait and Piltover and react with rage "I tried to work with them, but they are actually monsters, let's fight them". Or she could have shut down, gone to the pretty place of Ekko's there and try to recoup there (maybe she's self-haty and scared that they would reject her for the things she's done?) and find herself by trying to do small nice things for people. But it seems like she reacts with self-hate because she's a pretty splintered broken person herself who is highly unsure about her place in the world.

But yes, Vi has zero class consciouness because she just doesn't think like that is just correct description of her character. That's just how she is. She's a mostly one track universalist.

I just don't think it makes sense that we impose what her trauma response should be (ie she should retch at every badge she sees) just because that's what we would like to see and we feel that this should be the "most logical" thing. People have all kinds of different trauma reactions.

And Vi has been on the receiving end of bad actions of Zaunites and if you put into the equation that she just genuinely doesn't have a class conciousness/doesn't think of things on that level, why shouldn't she have aversion and trauma reactions to Zaunites as well? She disliked Pilties and enforers because they enacted violence on her, but she also had violent run ins with Zaunites. That street kids brawl after the heist in season 1 was against Zaunites, she was there for the murder of Benzo, Silco to her knowledge killed Vander, she fought Sevika (and I still think she blames Zaun for "ruining Powder"). Maybe she even holds it against Zaun that the followed Silco (though even if she unreasonably idolizes Vander, shouldn't she at least see that Ekko's people uphold the memory of Vander? I wonder if Vi knows that the Vander statue exists).

In short, it's going to be interesting how her relationship with Zaun will evolve. If she will gain a more nuanced view on it or not. I can see a world where she finds out more about Vander's regrets and sees more nuance is necessary, I wonder if she will interact with the Viktor people and what her take on that will be. I wonder if she will find comfort and familarity in the fighting pits or if it will just be her self hatred and ultimately Cait "saving her" from the pits (whether actually retrieving her and luring her out with more tasks up in Pilotver).

I don't buy that Cait is that keen on the Noxians, so I could picture her asking Vi for help again soon.

Or maybe she'll team up with people to for example hunt the new monster Warwick. It's gonna be interesting if Vi finds her new community in Zaun in some way (ie teaming up with somebody to hunt Warwick, or fight Viktor, or rally people against the Noxians or reconnecting with Ekko after all). Or if she has trouble connecting with people and Cait and enforcers will remain the only thing that ever gets offered to her (after all she spelled out to Cait that she feels like she has nothing).

We know the story is highly slanted towards Vi ending up with Cait and probably even as an enforcer. The question is whether it will be with her getting a nuanced view on Zaun and trying to walk between the world, seeing both sides and negotiate between them (ie by keeping a positive relationship with Ekko or making new friends in the pit adventure) or whether the rift between Vi and Zaun will stay there (maybe they hate her for working with enforcers, maybe she is at odds with them again if she ends up trying to protect Warwick from them).

Having digested the first 3 episodes of Arcane 2, I'm ready to say something bold and brave, and I hope I don't get too much hate for it.

Vi is just not a nice person.

In season 1, I feel like I was maybe unfair to the writers by saying that "rushing the romance with an enforcer/1% like Cait" was "flattening" Vi's character. That it was bending her out of shape.

How could a Zaunite as maltreated as Vi so easily turn to someone like Cait?

I was told by shippers it's because Cait is the first to show her kindness in a long time, and I still think that's hogwash. She is fresh out of mega hell prison where enforcers beat her so often they lost track of it. I don't believe any amount of kindness could make you fall for an enforcer within 48h in this context. Not realistically.

But now?

Vi hears Cait dehumanizing Zaunites and doesn't fight back. It takes a few compliments to make her accept an enforcer badge. She's running around gasing the people of the Lanes, making excuses for it, while looking fresh out of a WWII horror movie in that gas mask.

And when the gas mask is off, she's wearing Claggor's goggles... Like, yeesh.

She's clearly blinded by Cait. And that's fine! I used to think it was the flaw of the writers trying to hurry a Caitvi ship along. Now I gotta admit, it looks like Vi just doesn't have strong morals.

She hates enforcers but she'll join them easily. Her wanna-be gf says we use toxic gas that has horrible side effects [cut to horror medical slides] and she says "yeah, it's for the good of the people, sure".

She sees Jinx and accuses her of killing Powder, and says she's tired of making excuses for her.

To WHO, Vi? We don't have you on screen apologizing to anyone for Jinx's actions. I'm sure things were said to Caitlyn, but like, yeesh.

She accuses Jinx of orphaning kids, WHILE WEARING AN ENFORCER UNIFORM, the same worn by the people who orphaned HER.

I give up. The writers knew what they were doing.

A flawed woman who wasn't made a better or more moral one by all the suffering she endured in Stillwater.

Vi is cool, but she's not super loyal, is a bit of a meathead, doesn't have her priorities in orders, leads with her fists and caves easily to her emotions. She's horny for Cait and not very interested in the fate of her community.

Being locked up and beaten didn't make her smarter or kinder. It just made her a better fighter.

It's kind of my bad for assuming that Vi "should be better", logically. If she's written as a human, then she should be flawed and yeah, I guess she fucking is lol

I'm curious to see if she develops some... class consciousness, or some patriotism of some sort, when everyone realises the Noxian offers of protection are a yoke. I'm a lot more curious seeing where she ends now that I've accepted she's cool while also kinda shitty. It's nice that it goes along Cait's spiral into villainy.

[milfweirdal]

comedy bang bang season 5 is just "Put Weird Al In Situations: The Show"

[poorly-drawn-mdzs]

Wardrobe Woes

[First] Prev <–-> Next

[epiphainie]

i can't with all these "the show is highlighting tommy's jealousy, they're planting seeds that it will cause problems" takes like bffr. he mentioned being envious over the 118's dynamic twice, sure, but in what world (literally how?) would that cause a relationship problem? do yall expect him to be in cahoots with gerrard behind their back and murder buck to take over his life or something?? like even with the hyperbole aside, i genuinely cannot see how they can turn this into relationship drama without going against everything they showed us with tommy so far

[loveandlegacy]

so i agree with you broadly! ig my point is generally that there is nothing that could have happened in that scene itself that would have really structurally solved this issue — i do think there are serious pacing and just general writing issues with the first episode and a half, and so the scene feels unearned because, like you said, we don't really have much context for viktor's motivations now. but i think to me something feeling un-earned is distinct from it feeling rushed on an internal structural level.

like i also did not want (please god i cannot overstate how much i did not want) a shippy anything between them, and i think the actual problem with viktor's story thus far is kind of similar to a problem i have with vi thus far. yes vi and cait have more scenes that lead up to their eventual falling out, but as someone else pointed out, it is pretty weird that we get so little of vi's reactions to things like using chemical warfare in the undercity. like obviously she ends up retroactively justifying that to herself, but we never even see her struggle with that cognitive dissonance or with how it affects her feelings for caitlyn (or with how it's affected BY her feelings for caitlyn), so while i can buy that she would eventually tell herself and also jinx that they did it "to protect people", it's also weird that she just seems to have emotionally arrived there without us getting to witness any kind of prior internal struggle over it.

i feel like it's kind of the same with viktor. i can basically believe that he's super weird and kind of brain broken now, and i can believe that he'd just be like 'bye jayce' and go to the undercity but i wish we had more time leading up to that moment to make it land a little harder. to take your examples, it would have been nice to have prior scenes of just him in the hexcore having Visions or whatever to help clarify why he felt that going to the undercity makes more sense than staying in piltover (or why the hexcore thinks that, if he is mostly possessed/brain-broken by the hexcore), because as it stands it's like why....is the undercity the place he'd go. i guess it's his home but he hasn't lived there for a long time. does he just go because he feels out of place in piltover? it's not super clear. similarly more scenes of him having visions might have helped clarify that his sense of self was slowly dissolving or something while the hexcore took over and that's why suddenly he's so cold and weird. but i maintain that that doesn't make the actual argument itself between him and jayce especially rushed, it's more like we are describing the external moments that might have helped clarify that argument. maybe that's nitpicky but i do think those are different things.

i also agree that it's weird that jayce is like 100% fine with the fact that viktor got basically transmuted into what appears to be a completely new life form, and i wish we had gotten more of the fallout from that after viktor left, but i sincerely cannot imagine what he would have said TO viktor about it in the moment that wouldn't have felt as tropey as what he actually already says, a lot of which feels pretty tropey.

so like lest i come off as if i liked the scene or something, i think it has its own internal flaws (primarily with the lines they gave jayce), but i still think the only actual solution for the scene would have been to have like a whole extra episode where we get to sit with all the characters a bit more either before or after something major happens, and in that case i still think it's not that their scene was uniquely rushed. it's that the first and a substantial portion of the second episodes are pretty clumsily written overall because there is no specific moment in the first like.....60-70 minutes in the show that doesn't feel like it either lacked setup or fallout in some way, so the scenes we do get end up suffering from a lack of more lush context.

im going to say something slightly mean which is that i think there is an imagined aspect of jayce and viktor's relationship that the audience is projecting onto them that actually is not supported by the text itself and that imagined facet is the reason people think their parting is rushed more than the issues with the actual show's pacing 💀

like i do think some of what jayce actually SAYS in that scene feels kind of clunky and unearned and sorta tropey, not because of who jayce is, but because it feels like they had to cut some interstitial tissue for the sake of time constraints, but even if they hadn't had to i cannot fathom that scene being extended more than like....a minute. like what kind of argument are they going to have that wasn't the one that actually transpired?

i think it's pointed that viktor is weirdly emotionally stunted and icy after he was such an impassioned person in s1 and he said everything there was to say anyway, just with a colder affect. i guess jayce could have said "hey viktor wait" like. one more time lol but in general if you take everything we have presented by the text on its face their immediate falling out could never have been that long a conversation because there isn't actually that much to argue about. jayce did what he thought was right and what is the normal human thing to do (broke his promise to save his friend that he loves and cares about) and viktor did not want him to do that. which is literally what they said to each other. very directly.

also it's like...supposed to be cold and sad. i don't think viktor is going to be the sole big bad of the show but i do think that the whole point of what we've seen so far in act i is that the arcane is inhuman and strange and kind of hard to understand and viktor has been partly absorbed into that and jayce is still very very human and full of all his hopes and ideals and therefore not able to grasp the arcane's true nature yet. a like. screaming lover's spat or whatever was not going to happen given the narrative positions that these two characters occupy. it doesn't even happen really between the two characters who are actually lovers — cait and vi have an somewhat equivalently long (so pretty short) moment of disagreement before cait hits vi in the stomach and leaves. anything else would have felt like fanfictiony and cheap imo

[brucie-baby]

genuinely can't get over the way the end of under the red hood parallels death in the family, with the only difference being that the parts they play in their own destruction are so much more explicit.

ditf has jason being deeply wounded and then dying in an explosion that consequently signs the unfulfilled death warrants of bruce and the joker.

this exact thing happens in utrh, but this time bruce is the one that wounds jason, and it's jason that plants the bomb that literally kills him, bruce and the joker.

it's all just about two people who are so very different from who they used to be, who cannot move past who they used to be. it's about two partners who have learned new tricks but cannot rid themselves of their reflexes. it's about a father and a son who try to reach for the other only to find their hands forming fists. they know each other too well. they do not know each other at all.

[bacchuschucklefuck]

the boy-but-not-that-way-ism of riz gukgak send tweet