#and one or both of the characters coming to terms with that

[felassan]

David Gaider on Flemeth, under a cut for length:

"I have a type. I admit it. There are certain wells I can return to repeatedly and always find something new to explore. One of them is older female characters. Mike used to rib me about it. Consider Wynne. Meredith. Genevieve. And, of course, the biggie: Flemeth. Why are they a type? I... don't know, honestly. I guess I have a feeling that older men fade, they strive to regain their youth or establish a legacy and we've seen that story a thousand times, but older women? They become free to become something new. I guess I see so many possibilities in that. I had a conception of who Flemeth was, and why, right from the very start. Her creation went hand in hand with Morrigan, as a being whose thirst for retribution hundreds of years ago attracted an entity (slight confession: I didn't know Mythal specifically, at the time, "an elven god" was enough). I also knew where Morrigan was right and very wrong about her. Misconceptions of the truth are built into DA's foundation, and they were fundamental to this mother-daughter relationship I was building. Like many seeds I'd put in the world, however, I had no idea whether I'd ever get to explore it. Knowing that she was a character of possible future importance, if not a major player in DAO, I wasn't much surprised when she was one of the first cuts the art team made in terms of getting a unique appearance. Thus the "batty old woman" players met in DAO. Not as hard a cut as the Qunari, though."

"Going into DA2, I wanted both Morrigan and Flemeth, but we could only have one. So I picked Flemeth. This was the game where she really got to come into her own. I remember the art team coming and asking if it was OK if she got a new model, as it'd be a retcon of sorts. I didn't care. I wanted it. I honestly don't remember whether Kate Mulgrew was cast before or after Claudia. After, I think? All I recall is that Cab came into my office one day and asked if Kate might be a good fit. Asked me, the dyed-in-the-wool Trekkie who had stuck with Voyager even through the admittedly lean years? The squeal I made was un-manly. Cab took that as a "yes". 😅 I didn't get to talk to Kate until DA2, however. Schedules being what they were, we had a tight window to record Flemeth... so I had to write all her scenes before almost anything else in DA2 was written, before I even had a team! Ack! It was OK, though, for the most part. I knew where I wanted to take her, and a big part of it was going to explain her transition - to set her up for the future. So I whipped up a script in, like, two days and off we went. Kate was a marvel in the booth. She adored Flemeth and you could really tell. I didn't get to meet Kate in person, however, until DAI. This came pretty late in its development, compared to when we recorded her for DA2, and we flew down to Virginia (to accommodate her schedule - she was writing her memoir at the time, I think) for a single session. It was going to be *tight*."

"I was a mess. I was finally going to meet Captain Janeway... and yes yes, I know she's also more than that. But come ON. When we sat down, I figured I'd have to talk her through the character all over again. It'd been years since that one session at the start of DA2, right? And even more since DAO. But, no. Kate remembered Flemeth perfectly. I remember sitting there as she told me how much she loved the character, how rare it was to get one with so much texture and possibility. She called out my writing - my writing! - and waxed poetic about how she viewed Flemeth's arc. I... I was floored. 🫠 Then we began recording. One issue that quickly reared its head was how Caroline had to speed through the lines if we hoped to finish. Kate was a trooper, and most takes she'd get it in one (which is rare), but I was alarmed because we weren't giving Kate time to read the VO comments on each line. I brought it up, as there were some lines (so much sarcasm) that required nuance - Kate was getting them, oddly, but I was worried. "Oh, it's fine," Kate said. "I read the comments as we go." "How could you? We're going so fast!" "I'm a speed reader." Oh. OK, then. That certainly explained it. 😁 We got to the confrontation scene with Morrigan and she nailed it. Over and over. More than once, Caroline would make a call and, before I could even interject and say "no, Kate had it right, actually" Kate would explain exactly why she did it that way and why it worked for Flemeth. I was in love. She did the "I will see her avenged!" section all in one go. I got chills. Then we got to the final scene. You know the one. With Solas. It was this beautiful moment. She took it somewhere quiet and sad... and when she got to that last line, we all felt it: Flemeth was dead. Everyone was in tears. I suppose I could talk more about the process. How she started off aligned with Morrigan's original Delirium inspiration, but I didn't pull back her loopy way of talking as much (bet you wondered). I still don't know why it was so easy to slip into her voice, but I'm grateful I got the chance. ❤️"

[source thread]

[greniza]

One of the consistent elements of Human Domestication Guide is that the setting's core kinks are, in-universe, institutionalized and enforced to a greater or lesser degree depending on the story. To many people, those kinks are strange or off-putting, and the premise of being forced into such a situation is (understandably) horrifying. My first introduction to the universe was the original story, which can be (and was, by me) read as a character's life and mind being wrested from her control and sculpted by a malignant and alien entity with total technological and social power, transforming the previously defiant main character into a puppet whose new master could play with or discard as she saw fit. This is not to say the story is problematic -- fiction is fiction -- but it left a lasting impression of the canon that I'm sure others share. Such is the bitter taste present in-universe.

There are people that, upon hearing someone say "I like this" about anything, will turn around and say, "Wow, you like this? You want everyone to have this? I don't want this, and therefore you are a bad person for wanting to force me to have this." These people fail to appreciate that someone could conceive of having different preferences from them. The "but" is that, as mentioned before, the bitter institutionalization of the human domestication guide universe loads the statement "I want to live there" with subtext of allowing the HDG universe's subjugation upon the unfortunate listener so long as the speaker gets to live there too.

The speaker's belief is that the subjugation of the HDG universe would be an abhorrent experience. I would agree with previous' post that it is about control, and that evaluating control and self-determination as moral goods isn't necessarily correct. I propose that while seeking control or it's simulacrums may be irrational, it is a survival instinct. If I had the ability to wave my hand, say "abracadabra," and cause anything material I imagined to come to pass, I might not be happier, but I would definitely never go hungry, and things that I noticed hurting me would evaporate. With more money, more time, more this, more that, one is necessarily able to do more. In previous's example, they trade their choice of food for automatic, free, and instant preparation; this is an increase of agency for previous and a loss of agency for another. So, previous would opt in, and someone else wouldn't.

This survival instinct extends to hypothetical considerations of the HDG universe. "What if," a skeptic might ask, "I was assigned an affini who's just sadistic and likes it when I suffer? In-universe, I'm powerless. I have no recourse! That would be awful!" and that skeptic would be correct! They would have no recourse. Such is necessarily the framing of the setting. The problem, reassures canon, is the premise of the hypothetical. There are no evil affini. All are very long-term thinkers with the happiness of the organisms they care for as the top priority. There are no need for checks, balances, or anything that could impede them, as they are as pure as angels while working in groups. This is almost paradoxical; the affini are characterized as big, weird-looking plantpeople, but still people. People, as you or I know, tend to suck and be awful, to take things for themselves at the cost of others. They’re so like us in some ways that they must be like us in every way. Furthermore, the individual characterization of affini often comes to friction with this overarching premise, as individual affini are clever and good, but still undeniably people and still undeniably flawed.

Truthfully, subscribing to the paradox of affini being both comprehensible and benevolent requires effort and a willingness to suspend disbelief for the sake of fiction. If the affini are truly people with flaws and shortcomings, as compelling narratives often require them to be, then they cannot be perfect in the way that canon demands they be. But, in order for canon to not be a narrative idealizing giving "good-intentioned" authoritarians unchecked power, the benevolence of affini must be the case. To quote, of all things, the Federalist papers, "If angels were to govern men, neither external nor internal controls on government would be necessary."

HDG critics do not have investment in the setting sufficient to justify upholding suspension of disbelief in the face of narratives they view as unsettling, while fans of the setting are able to justify this suspension due to their enjoyment of the works therein.

Is HDG problematic? Again, it's a work of fiction with a subjective interpretation. The setting explores a reversal of the survival instinct to seize control, with payouts to protagonists for doing so. Equally, the setting explores a universe where throwing oneself prostrate at the feet of an imperialist conqueror yields great rewards. It serves as a vehicle for critique of the modern system where your choice is to either submit or suffer; a system which advertises itself as at least having a choice. Ultimately, though, the core of Human Domestication Guide is the kink. It's fiction, not reality. Judging engagement with a fictional work, especially one centered around kink, is silly.

A critique I've seen of HDG is "you'd have no control over your life" and idk, I feel like I have so little control over my life now.

the main difference is here it's due to capitalism, ableism, and transphobia and I have to largely take care of myself. Whereas in HDG, I would be fed, clothed, my disabilities accommodated for, my transition would be done in a week And I'd have a large hot plant person caring for me the entire time.

If I'd have no control over my life, at least HDG is safe and sexy

[maxwell-grant]

I think it’s interesting, considering how most live-action superhero adaptations kill off the villains after their debut, that both The Batman and The Penguin end with the villains not just living, but set up to return and somehow cause Even Bigger Problems down the line. Is this just because it’s the first Batman film adaptation that’s a capital-F Franchise, so the writers need the villains to stick around long-term, or is something else going on?

Almost entirely comes down to the fact that The Batman was not meant to be Batman's origin story - by Reeves' own admission, it was the origin story of the Rogues Gallery. They got the Cloverfield and Dawn of the Planet of the Apes guy and he did a story about the boots-on-the-ground gritty perspective on larger-than-life terrors emerging from the ruins and failings of human civilization, taking the struggles and wars and laborious processes that others shy away from and putting them front in center. It's just this time, instead of kaijus and parasites attacking and destroying the city, instead of apes emerging as the Mad Max warlords rising from the ashes to fight over the world, we have Batman villains in that role instead.

To me, that was actually the conception - if we weren't going to do a Batman origin story, but we were going to do it in the early years, I thought well, in the comics, the rogues gallery characters often are creating their alter egos in response to the fact that a masked vigilante shows up in Gotham called the Batman.

And so I thought, oh well, what we could do is see all of the rogue's gallery characters in their origins, like Selina Kyle before she's Catwoman, and that we could go into, as we're looking for a suspect, we could go to a nightclub, a nightclub could be the Iceberg Lounge and we could see a pre-kingpin Oz, and we could see, you know, a Riddler who is declaring himself the Riddler sort of because there's a Batman. And so all of that was sort of built into the conception. - Matt Reeves

It's far from the first Batman film adaptation to be a capital-F Franchise, even if that aspect was there - Reeves initially pitched the movie as an HBO series, and throughout production pitched additional show ideas such as an Arkham show or a Gotham PD show, The Penguin being the only one that survived as far as we know. This pulls off an origin from the Rogues Gallery better than every other Batman media ever made, and there's a couple of reasons why it does so and why the villains get to take center stage here:

Part of the difference between the way Nolan tackled realistic Batman, and the way Reeves tackles realistic Batman, is that Nolan needs realism to explain Batman, and Reeves needs realism entirely in the service of making Batman weirder. Pattison Batman is the weirdest Bruce ever put on film almost entirely because he lives in our world while still being Batman in every way that counts - Keaton Bats slept upside down in a cave, but he lived in a Tim Burton world. Adam West Bats is weird, but everybody is like that or even weirder than he is, he is the comedic straightman to everyone else. And where as Nolan needs Batman to be the thing that makes sense, Reeves needs Batman to be the thing that doesn’t make sense.

Nolan wanted weird difficult irreducible villains opposite a logical pragmatically sensible Batman, and Reeves wants exactly the opposite. For Nolan, even besides the Joker who was defined entirely around the lack of a real explanation for him, you have his take on Two-Face, Bane, the Al Ghuls, characters that don't demand that much reasoning or explanation because they can act and exist in ways that defy logic, while Batman's the guy who has to hold the center of logic and reason. Where as here, Pattison Batman is the most interesting and complicated and larger-than-life figure this world is dealing with in much the same way that Ledger Joker was for his movie, and everyone else is in the position of starting out and having to deal with Batman and the paradigm shift he brings - nobody else in the movie is quite the character they were supposed to be, that's something they're all growing into in response to their nightmare city and what this titanic freak in armor represents to them.

Even The Riddler is ultimately explainable, human, reducible to his tantrums and vulnerabilities, even without you knowing in-depth his character and backstory that would be elaborated for Dano's Year One. Even The Penguin - he may be larger-than-life, he may be unexplainable on some level, but we know all too well all of his failings and feelings and life story and all the cracks in his persona that he killed Victor to try and bury. But Batman? Next to everyone else, he is still an anomaly, he is just Like That, even to his own detriment and that of the city, and he learns that he must apply being Like That to something better.

Reeves is not interested in doing "Batman vs [X]" movies, the movies are going to be focused on Batman's arc first and foremost, which means the villains will never really take them over the way they've usually done - this is a world where it's the villains who react to Batman, not the other way around. This frees them from the burden of having to exist in direct relation to how much they can directly menace Batman, and it makes it so that these are characters that can carry their own spin-offs, which is probably a lot easier for WB to work with because these are spin-offs that they don't really have to get Pattison to show up for, but they can construct in ways that don't even need Batman to be physically there. Even after The Penguin, they might not have to do that Smallville/Gotham song-and-dance of teasing a main character who'll never get to be here, there are a lot of other things happening in Reeves' Gotham besides the existence of Batman, even if the existence of Batman has changed all of them. So structurally speaking this series has a ton of room for reocurring villains, and building it has been one of their top priorities. In fact, this ONLY gets to do so because the movie already laid out the entire groundwork for them and how it all ties together.

See, the way Batman stories do the rise of a Rogues Gallery and how it affects the city and therefore Batman always follows a sort of a 7-step program:

Gotham City is ruled by crime, crime that takes away the Waynes (Falcone / Carl Grissom (89) / Falcone backed by the League (Nolan) / the Falcone-Hill-Wayne triumvirate (Telltale) / Gotham S1 and first-half of S2)

Crime begats Batman, who beats Crime

Crime + Batman = Weird Crime (Jack Napier becomes Joker after an encounter with Batman (89) / "we still haven't picked up Crane and those other Arkham inmates btw check out this weird card" (Nolan) / Black Mask and the international assassins + Joker's rise (Arkham) / Children of Arkham (Telltale) / the Indian Hill experiments and patients (Gotham)

Weird Crime Replaces Crime (The Long Halloween / Joker takes over the mob (89) / the mob is so impressed by the pencil trick they give Joker all the money (Nolan) / Joker literally replaces Black Mask in the process of becoming Batman's main enemy (Arkham) / Penguin assassinates Mayor Hill and the Children enter a war with Mayor Dent (Telltale) / Indian Hill breakout and Maniax cult and etc (Gotham)

Weird Crime is a Rogues Gallery now (Penguin and Catwoman and Max Shreck in the sequel (Burton) / Joker and Two-Face become separate problems, Bane + Talia + Crane + Catwoman in the sequel (Nolan) / after Origins a whole asylum full of them (Arkham) / Riddler + The Pact and John becoming Joker proper (Telltale) / Gotham S3 with Tetch and Riddler and the Legion of Horribles

The city is changed by the new paradigm

Batman responds / expands or retracts in response to this change

(4 and 5 don't necessarily always happen one before the other, mind you, frequently you do have a Weird Crime Rogues Gallery before Weird Crime replaces Crime at the head of the table)

And you can apply this to most other Batman stories that don't automatically start and stay at level 5. But where as all of these have to stretch the process across sequels and continuations, The Batman is the first Batman work that gets to do all 7 of them in one row. It gets 1 and 2 done offscreen before the opening act and shown to us how they happened throughout the movie's reveals, 3-4-5-6 comprise the Riddler's plot + the other United Underworld members roped into it, and it ends with 7. Even the Batmanless spin-offs follow the process: The Riddler: Year One covers Eddie's perspective on 1-2 as he enters stage 3 and prepares it for the movie, and The Penguin covers 4-5-6, leaving us waiting for Bruce's response back to stage 7 where The Batman ended.

And up until The Batman, the process behind the creation of a Rogues Gallery had never really been much of a process - comics that go into the transition like Long Halloween/Dark Victory just show the fall of Carmine Falcone -> the freaks waiting in the wings causing it or happening immediately after. Gotham tries to work that escalation gradually and it starts relatively "normal", but it's always dancing around the premise and the central black hole and the building blocks don't have anything to do with each other - the gang wars and Penguin have nothing to do with Bruce investigating a conspiracy, which has little to do with Gordon and Bullock investigating weird serial killers who keep escalating, and then eventually we get that Hugo Strange was building freaks in his basement at the orders of the Court/Ra's the whole time until they all just escape. You can piece together how Batman works that aren't about this transition ultimately touch on most of those 7 stages and have their own version of it as soon as they introduce Gotham City in a pre-Batman/pre-villain state, but the connections are always rather tenuous and not necessarily connected to each other (and it's fine, y'know, not everything in a story always has to come from the same source).

But everything in The Batman follows a long chain of dominos that had to happen for this system to become the way it needs to be for Batman villains to emerge. Everything started in that one night Thomas Waynes saved Carmine Falcone, everything started from that ensuing connection and Thomas' failures leading to a city ruled by mobsters for 20 years and the sheer level of rot and corruption and human misery that creates and justifies the existence of Batman, and thus The Riddler in his example. Everything we get in The Penguin is the result of this paradigm shift and total civic collapse, showing the destruction of Carmine's empire as well as his legacies torched and mutated by Sofia and Oz respectively. Everything is still connected. The United Underworld guys featured in the movie live and dwell in entirely separate spaces and represent entirely different things, and they're still all connected in the same chain of dominoes, which allows them to expand and cover entirely separate narrative real estate while still giving it all cohesion.

The movie never has to specifically establish a system full of supervillains or made for them, it has to establish a system so utterly fucked and dominated by Falcone, so utterly failed by every institution and body of government and system imaginable, that it creates Batman, and the minute Batman arrives and survives long enough to be a third power / a fifth state, people in his wake trying to respond to him or do the same things he does, as a response to the same afflictions he faced and to his example or influence, are the only logical thing. Without needing to literally show the other rogues waiting in the wings, The Batman established an entire world of possibility just by very smartly using the 4 big ones + Carmine and showing why and how this regular American city becomes a place where supervillains bombing city blocks and running for political office can become a facet of daily life. Joker, Penguin, Catwoman and Riddler - positioned as separate from each other as possible to show the ways in which this is, and maybe always has been, spreading fast out of Batman's control.

And now with The Penguin, reinforcing the chokehold of crime in the city in it's old ways as well as the corrupt mutated new ones brought on by our boy, as well as a new Batman Villain (possibly two, if Eve Karlo ever gets her hands on suspicious make-up) arriving from Penguin's side of things so that it's not just Batman who has a Rogues Gallery to deal with, not just Batman who has terrific enemies waiting in the wings for a chance to enact their own forms of justice and revenge, no, that's just what life is like in Gotham now, forever.

[utilitycaster]

This is coming up across several fandoms at once but like...does anyone else feel that F/F ships (or ships with nb characters that read as for lack of a better term, sapphic) get hit disproportionately by their own shippers with like...very shallow aesthetic and reductive trope combos. Like, I'm running simultaneously into one ship I genuinely like that people have reduced from its complexity to Goth/Pastel, and one I dislike that is people projecting a Grumpy One Soft For Sunshine One. Like it's always like "THEY'RE BOTH WOMEN...BUT THEY'RE DIFFERENT PEOPLE FROM EACH OTHER ISN'T THAT REVOLUTIONARY" and it's like it really isn't.

[mixelation]

i got up to do a chore and then was like "no, i should write down this sentence first" and then wrote a 700 word intro to "deidara is minato's oops baby" i guess

Our story, dear reader, starts like many do: with tragedy. 

At the height of the Third Shinobi War, Namikaze Minato and Uzumaki Kushina come to an agreement. Whenever Minato is out of the village on a long-term mission, they are both free to have sex with whomever they please. 

They refine this agreement multiple times over the years, to keep the both of them comfortable and happy. They make rules to prevent emotional attachments. They both commit to their due diligence in screening for STIs and preventing pregnancies. 

There is no rule against having sex with enemy ninja. Six months out from his marriage, Minato sleeps with an Iwa missing-nin. Her name is Juri, but Minato never learns this. She’s the one who makes the proposition, and he thinks it’s a bit sexy, to sleep with the enemy. Juri enjoys the thrill of fucking the man that her former village, now her most hated enemy, is most afraid of. 

The condom breaks. Juri insists she knows the contraceptive jutsu, and she definitely doesn’t want to be pregnant, on account of currently being on the run from her home village. Minato hedges and asks her to do the jutsu in front of him just to be sure, and she acquiesces. They part on good terms and do not give the other any way to contact each other. 

Minato goes home and reports the broken condom to his fiancée, but neither of them give the incident much worry. The contraceptive jutsu is easy, and Minato saw her do it, and also what are the chances that this random woman would get pregnant from this one hook up?

Kushina also thinks sleeping with the enemy is kind of sexy. They roleplay it a few times and otherwise never think of Juri again. 

What neither of them know is that Juri has a bloodline limit which affects her chakra. What Juri herself doesn’t even know, is that she needs specific adjustments to the contraceptive jutsu to accommodate her bloodline limit. It’s never come up before. She’s never had a condom break. 

Half a year later, Minato and Kushina are married, and Juri is recaptured by Iwa. 

“You can’t execute me,” she insists. “I’m pregnant. Don’t you want more explosion release babies?”

She does not reveal the identity of the father. This seems like it could get her special treatment, or it might get both her and her baby killed. She decides not to risk it. 

For the first few years of his life, little Deidara has an average upbringing. Juri is under constant surveillance, but the war has been costly and Iwa does need more babies. That Deidara is healthy and demonstrates a strong aptitude for shinobi skills is a boon to Iwa and a boon to Juri. 

The Yellow Flash becomes Hokage, and Deidara begins ninja training years early. Iwa insists Juri have more children. They pick out men for her. 

To breed me like a dog, Juri thinks, grinding her teeth. No thanks!

She leaves the village again. She does give some thought into bringing Deidara with her, but ultimately concludes her chances of survival will be higher without him. 

Fuck Iwa, she thinks, and on her first day as a free woman, she sends a message to Konoha. 

Juri does not survive the week. Uzumaki Kushina and her newborn baby Naruto, in an unrelated incident you may know something about, also do not survive the week. Konoha is plunged into chaos, and the message from Juri ends up buried in a report that the grieving Yellow Flash doesn’t read. 

The start to this story, as you can see, dear reader, is very sad. We are left with three of our named characters dead. One of our survivors is overwhelmed with grief and survivor’s guilt for years to come, unable to forsake his duties to the village to properly process his loss. The other survivor is suddenly plunged into a confusing, chaotic world without a parental figure to support him and no way for such a young mind to comprehend why this is happening to him. 

But don’t worry, dear reader.  Ten years later, while shuffling through old documents in order to prepare for renegotiating a peace treaty, Namikaze Minato will find the note from Iwa no Juri, and everything will change.

[dissapointu]

Sevika with a reader that has more stamina and drive

1. Sevika’s Control and Your Energy

Sevika is no stranger to power dynamics, and as a highly skilled and confident character, she enjoys being in control. However, with a younger reader who has high stamina and a heightened s-drive, she would find herself balancing her usual dominance with a bit of playful frustration. The way your energy matches her own would likely intrigue her, but she’s not easily overwhelmed. Still, she might find herself surprised by how far you can keep up, making her push her limits to maintain control.

2. A Test of Stamina

Sevika is strong-willed and enjoys seeing how much endurance her partner has, especially if they’re younger and more energetic. With you, she’d see it as a challenge to see just how far she can go before you tire. She might test your stamina, teasing you with her strength and endurance, pushing you to your limits and occasionally making you prove you can keep up with her pace. But when she sees you can, she might be both impressed and slightly smug about it, knowing she’s dealing with someone who matches her in terms of tenacity and drive.

3. Physical Dominance and Playful Teasing

Given Sevika’s personality and physicality, she’d likely enjoy the power she holds in intimate situations, especially knowing you can keep up with her. When she’s in the mood, she might not give you much of a choice when it comes to when things happen. But, at the same time, she enjoys teasing you, pushing you just a little bit further to see how you react. She may make you work for her attention, but when she finally lets you have it, it’s a rewarding experience that leaves both of you feeling satisfied.

4. Embracing Your Energy

Sevika would be impressed by your stamina, seeing it as something to appreciate. While she doesn’t get easily swayed by youthful energy, she might find herself slightly addicted to the way you seem to have endless energy and an insatiable drive. When things do get intense, she might revel in the fact that she’s dealing with someone who can keep up with her and more. If anything, your energy and stamina would make her more open to exploring new, bolder, or even more intense encounters.

5. Moments of Vulnerability

Despite her usually tough, no-nonsense demeanor, Sevika might have moments where your boundless energy catches her off guard. There could be instances where, after a particularly intense encounter, she might let her guard down for a moment, perhaps showing you a glimpse of a softer side. Her usual tough exterior might crack just a little when she sees how much stamina and drive you have, making her realize that there’s a kind of intimacy that comes with being physically and emotionally matched with someone.

6. Seductive Confidence

Sevika has a seductive confidence about her, which she would use to her advantage in interactions with a younger, more energetic partner. She’s not one to be overtly affectionate, but when it comes to intimacy, her gestures would be confident and deliberate. She’d know exactly how to move, touch, and kiss to keep you wanting more, and she would take pride in knowing that she’s the one who holds all the cards, even when you try to outlast her. The more stamina you show, the more she would appreciate your enthusiasm.

7. Aftercare with a Twist

Sevika’s aftercare would be understated, but it’s clear she cares. After an intense session, she might not be overly tender in a conventional sense, but she’ll make sure you’re taken care of. Whether that means a soft kiss on your forehead, a quiet moment to catch your breath, or a simple word of praise for keeping up with her, it’s clear she recognizes your strength. However, she’d also make sure that you both have a chance to recover before she gets back into her usual commanding role.

[lunarsilver]

How will you meet your next partner?

I've got a new deck and so I had to use it! Here's a short Lenormand reading.

REMEMBER

I’m not a doctor, a psychiatrist, a therapist nor a psychologist. Divination will never replace meetings with them.

It’s a general reading, so not everything will resonate.

If you can’t choose between two piles, probably both of them have some messages for you. You can also not identify with any of them, and that’s okay, too.

Readings can help you make a decision, but they shouldn’t be the main reason for making it.

1 ~ 2 ~ 3

4 ~ 5 ~ 6

PILE 1

Key - Anchor - Moon - Snake - Stork

Openness for stability grounds one’s feelings and evokes the desire to start anew.

With the Moon in the center, the main themes of this reading are predictably your fears and feelings. It’s more about your mindset than anything else. I feel like people here either had only short or casual relationships, or never dated. You’ll meet your next partner when you’ll be open to the possibility of starting a new cycle and want something durable and secure. This suggests it will be a long-term relationship. 

PILE 2

Fish - Book - Heart - Woman - Sun

Wealth of knowledge makes the heart of a woman happy.

With the Heart in the center, the theme of this reading is, of course, love. We’re talking here about a romantic relationship. The Woman represents either you (if you are a girl/feminine) or your next partner. A lot of happiness comes from being well-read and well-informed. You’ll meet your next partner thanks to the abundance of your knowledge. Education is pretty important here.

PILE 3

Key - Cross - Ship - Crossroads - Bear

Liberation from rules and ideologies starts the journey of discovering the path to one’s own power.

Freedom. I have this word in my head while looking at the cards. With the Ship in the center, the theme of your reading is exploring your choices. After setting boundaries with a leader figure and making the painful choice between your responsibilities to this figure and your own freedom, you’ll start to choose what you think is right for you. That’s how you’ll meet your next partner - by becoming independent.

PILE 4

Bouquet - Owls - Mice - Anchor - Snake

(In the deck I use, there are two cards with the number 12 - Owls and Birds. I choose to interpret Birds more as gossip, anxiety and communication between a group of people, while Owls as more private, serious or intimate communication).

Flattering flirt weakens the fundamentals of desire. 

Sooo, do I have people here who are currently in a relationship but feel like it is crumbling and start to think about finding another one? If so, someone will go after you while you’re still in this relationship, which even further will weaken your desire for your current partner, and you’ll get into a new relationship. You know, pile four, better come clean with your current partner as soon as possible and don’t drag it more than it’s needed.

If you’re single, I think you’ll have some situationship that will lead nowhere. Like, it’ll start so nice, some flirting and maybe even some deep conversations, but there are skeletons in the closet of that person; or maybe they’re just all talk, no action. You’ll meet your next partner after this situationship ends.

PILE 5

Sun - Ship - Mountain - Tower - Coffin

A happy journey is slowed down by an obstacle of dealing with one’s ego/loss/loneliness.

Just saying, I find it pretty interesting how mirroring cards have the same signs - Sun and Coffin are Diamonds (Earth), Ship and Tower are Spades (Air) and Mountain is a club (Fire).

The theme of your reading is overcoming an obstacle - only after dealing with it will you be able to meet your next partner. You were going through life smoothly, but here it is - a problem. I’m not sure which meaning of the Tower will fit you, but you’re either too arrogant and have to work on your character (most likely someone will call you out on this), you’ll lose something or someone, and only after grieving and moving on you’ll meet your next partner, or on the way to meeting your partner stands the need to be more social.

PILE 6

Garden - Anchor - House - Fish - Dog

Well-known social conventions value devotion.

With the House in the middle, the theme of your reading is tradition. You’ll meet your next partner the old-fashioned way, maybe at some party or through your family. This relationship will be approved by most people around you. You and your next partner will start out as friends, and from there, loyalty and support will grow. This will be most likely a long-term relationship, maybe even marriage.

[cpvnksabm]

Please stop trying to "fix" RTC's disability rep without doing prior research, especially if you are able-bodied.

I'm not just saying this because, on principle, I think it's important to centre & uplift disabled voices in discussions of disability representation. I'm saying it because in practice, I've noticed that when people take the "canon sucked so I'm just going to change it" approach to Ricky's depiction in RTC, they frequently end up erasing the parts of canon's representation that were valuable and important to me, sometimes doing things that are worse than canon.

It's important for a fandom to be able to recognise canon's flaws, especially in its depictions of serious topics. But I often feel that the discussion of criticising RTC's disability rep is dominated by people who haven't done a lot of research or don't understand the issue.

I've found that most of the things I actually consider objective flaws in RTC's disability representation are incredibly underdiscussed. Instead, criticism tends to focus on a few specific points, most of which are things I don't agree with or things that are just objectively wrong. For example - it was not ableist to remove the scene where Ricky concedes the competition. At all. I could even argue that this was a positive change, but it gets lumped in with the more ableist script changes (the 2022 rewrites removing Ricky's disability) simply because both happened after the most popular proshot was released in 2016.

Another criticism I see frequently is the idea that canon should have named Ricky's specific disability and was bad rep for not doing so. I understand the idea behind this and somewhat agree with it, but I also think it's more complicated than most people give it credit for - Ricky specifically has a rare disease, meaning most of RTC's audience would not be familiar with it, and when the musical was written, the intended "official" watching experience was for people to see it live, in a dark room with their phone turned off. While the majority of the fandom (who got into RTC through bootlegs) would benefit from Ricky's condition having a known name that can be easily googled, I think it makes sense for the the writers to avoid using terms the average audience member wouldn't be familiar with, given they wouldn't be able to Google it unless they remembered it after the show.

This wouldn't be an issue, if not for the fact that fans frequently use "canon wasn't clear enough" as an excuse to erase the things that canon was clear about. There is a big difference between a character having some sort of "blank slate mystery disease", leaving it entirely up to the fandom to decide what disability he has, and a character who is explicitly said to have a rare degenerative disease with a clearly shown set of symptoms, without the exact name of the disease being mentioned.

I think part of the issue here is a lack of awareness. Many people don't understand how one disease would cause both Ricky's inability to speak and his need for mobility aids, and so they assume canon must have just chosen these symptoms at random. And since "choosing symptoms at random" isn't exactly a great approach to disability depiction, these fans then try to "fix" canon by coming up with separate plausible explanations for Ricky's symptoms.

But the fact is that Ricky's symptoms were not chosen at random - they are in line with symptoms that are caused by real-world neuromuscular disorders. This is heavily implied to be the type of disability Ricky has (I've made a post explaining why, check it out on my account if you want).

Seeing erasure of Ricky's disability is always upsetting, but it's even more upsetting when it comes from people who think they are "fixing" canon by removing "unrealistic" depictions of disability. A person being unable to talk and a mobility aid user due to neuromuscular disability is not unrealistic. Just because you aren't already aware of how something can exist, doesn't mean it is unrealistic.

And there are other issues too, such as whether the "feed him through a tube" meant anything with regard to ricky actually having a feeding tube or generally how well canon handled ocean's ableism, where I feel like people are too quick to jump to "I don't know why canon did that, must be bad representation, I'll fix it" without fully understanding the issue. And if you try to "fix" canon without understanding where it went wrong, you might just make it worse.

I just think it's time for everyone to step back a bit and remember that it's okay to not know everything. Ricky is a character with an underrepresented disability, and it makes sense that some things about him might not be things you've seen before or things you understand well. It's okay to be confused. It only becomes a problem when people make assumptions and then spread these assumptions without fact-checking.

It's very easy for misinformation to get spread online. One person makes a claim in a post, and other people just believe it without fact-checking, because they don't see why the OP would lie about it. And often OP isn't lying at all, but they may be misunderstanding something. A lot of the time, complex subjects like disability representation can be accidentally stripped of important nuance in a game of telephone, when a discussion aimed at one group of people gets taken out of context. And the 2017/2018 RTC scripts frequently get lumped in with the ableist post-2022 script, purely because they both come after the most popular version (the 2016 proshot bootleg).

So before you try to "fix" RTC's disability representation, I think it's important to take a step back and think about what you think RTC originally did wrong. What makes you think these parts were wrong? If it's simply because you don't understand it, or because other people have called it bad representation but you don't understand why, it's time to do some more research to figure out how to best fix it. Otherwise, you might do something that is also bad representation, or plain erasure - and you might do this in an attempt to "fix" one of the things that RTC actually did a good job of originally.

My asks are always open if you're interested in hearing one disabled person's perspective on how RTC handled a specific topic. Please do not assume you don't need to ask because you already know what my perspective will be, and please don't feel like you're bothering me by sending an ask. I am much less bothered by good-faith questions than by people speaking over me, even unintentionally, or taking it for granted that i'll agree with their views.

I think getting a disabled perspective is incredibly important if you're planning on changing any aspect of ricky's disabilty in fanworks - there is a fine line between genuinely improving on canon's flawed rep, and just erasing canon's rep (including the good parts) and excusing it with "well it was bad representation anyway". Remember, disability erasure isn't only when a disabled character is made completely abled - it is possible to erase an aspect of ricky's disability even if he is still disabled.

This is a little more blunt than my usual posts, but it is very important. Thank you so much for reading.

[gothnitsa]

"Bioware's writing has gotten worse"

Ok, so I'm going to rant post about something and make it everyone elses' problem.

So, I recently came across a video that compared a scene of a queer character interacting with an unsupportive character in Dragon Age: Inquisition and a similar situation Dragon Age: the Veilguard. The video and the comments seem to imply that one scene is markedly worse than the other in a way that is immediately apparent. I want to push back against this.

Aside from the transphobia/anti-nb shit that is suggested by the video's framing and rampant in the comments, saying one scene is worse than the other is a mischaracterisation and discounts a lot of queer experience.

The scene in Inquisition is very dramatic: the language is flowery and elaborate, the performances are intense, it is a very compelling and dramatic scene. The framing for the scene and visual tone communicate a great deal of intensity and anger from Dorian: there are heavy shadows and dim lighting from torches that flicker, creating a scene that visually has a darkness and instability to it. The blocking of the scene puts a great deal of distance between the player character, Dorian, and his father, representing the distance in their relationship. It is very much a well crafted scene.

Now, the scene in Veilguard is much different: it opens with a very casual tone and atmosphere, the lighting of the scene is very warm and saturated. It feels like we are at a dinner table having a friendly conversation. Then, when the bomb gets dropped, we start to get close ups of each of the characters, interrupted by wide shots of the whole table. The shot of the table reminds us of the physical separation between these two characters, an echo of the rift that exists between them. We then get various close ups of each of the characters which get progressively closer, mirroring the intensity of the scene and the emotions.

Ok, so now we have the "Dialogue," the actual matter under discussion and point of comparison for these two scenes.

As mentioned above, Inquisition's style in this scene is deliberately intense and dramatic. It feels almost Shakespearean. We are given exposition on why Dorian's homosexuality is frowned upon, we get a tug of war between these two characters and the pain they both feel is palpable in the performances: the way Dorian's father speaks with such pain in his voice and Dorian's ferocity and anguish illustrate how this conflict isn't what either of them want, how the values and cultural circumstances have burned this bridge between them.

Now lets look at Veilguard. Right off the bat someone might feel critical of the sort of awkward start to this conversation. I won't lie, it was quite funny to hear someone go "here are some vegetables...so I'm non-binary." It's clunky, it's awkward, it's a strange way to introduce the topic but if you call this "unrealistic" or "bad writing," frankly I don't think you've seen many people come out.

Coming out is often awkward, painfull, and full of conflicting feelings. There's so much hesitation and anxiety baked into the very concept that there isn't anyway to bring it up that isn't awkward. This is actually a pretty realistic way to depict it. Furthermore, the actual conversation is also what I would call pretty realistic for an outing: the child tries to put it in as simple of terms as they possible can, lay it out in a way they think anyone can understand only for the parent to simply reject the explanation. What follows is a brief exchange that rapidly increases in intensity that is brought to life by some well done voice work (though, personally I think the music was a bit over bearing and did a little too much heavy lifting; I would have preferred the scene silent).

You can feel their frustration that is only further compounded by the mother's past behaviour and general presence. Even in this short video clip you can tell right off the bat that this mother child relationship isn't the most healthy, so this is just more fuel to the fire for them. The exchange is brief, harsh, and loaded with baggage and past bad blood between these two. You don't need to even know who these characters are to feel that. This is a much more realistic example of a character coming out to an unsupportive parent. It is laden with tension, awkwardness, unresolved anger, the burden of past expectations. There is, bluntly, a lot going on in this scene. Even just from this short clip you can get so much from these characters and their relationship while at the same time conveying a pretty impactfull and, honestly, real feeling queer experience.

So, no, one scene is not "worse" than the other. One scene has a deliberately awkward moment to convey the difficult and uncomfortable nature of coming out while at the same time communicating a great deal of character and struggle.

The other scene is an intense and dramatic confrontation that is meant to be more instep with the dark and intense tone that this scene holds within the narrative.

Both are well crafted scenes with deliberate directorial, cinematographic, character, and music choices that successfully convey what these moments are supposed to represent.

[justanotherflemethstan]

this is not a drill, this is a thread on the creation of Flemeth from David Gaider!! as kind of the self professed Flemeth stan blog around here, I had to reshare

(alt text and full text transcript of the images included)

Link to the original post

Full text from the images below the cut:

CHARACTERS - DAY THREE: Flemeth

I have a type. I admit it. There are certain wells I can return to repeatedly and always find something new to explore.

One of them is older female characters. Mike used to rib me about it. Consider Wynne. Meredith. Genevieve. And, of course, the biggie: Flemeth.

Why are they a type? I... don't know, honestly.

I guess I have a feeling that older men fade, they strive to regain their youth or establish a legacy and we've seen that story a thousand times, but older women? They become free to become something new. I guess I see so many possibilities in that.

I had a conception of who Flemeth was, and why, right from the very start. Her creation went hand in hand with Morrigan, as a being whose thirst for retribution hundreds of years ago attracted an entity (slight confession: I didn't know Mythal specifically, at the time, "an elven god" was enough).

I also knew where Morrigan was right and very wrong about her. Misconceptions of the truth are built into DA's foundation, and they were fundamental to this mother-daughter relationship I was building.

Like many seeds I'd put in the world, however, I had no idea whether I'd ever get to explore it.

Knowing that she was a character of possible future importance, if not a major player in DAO, I wasn't much surprised when she was one of the first cuts the art team made in terms of getting a unique appearance. Thus the "batty old woman" players met in DAO. Not as hard a cut as the Qunari, though.

Going into DA2, I wanted both Morrigan and Flemeth, but we could only have one. So I picked Flemeth. This was the game where she really got to come into her own.

I remember the art team coming and asking if it was OK if she got a new model, as it'd be a retcon of sorts. I didn't care. I wanted it.

I honestly don't remember whether Kate Mulgrew was cast before or after Claudia. After, I think? All I recall is that Cab came into my office one day and asked if Kate might be a good fit

The squeal I made was un-manly. Cab took that as a "yes". 😅

I didn't get to talk to Kate until DA2, however. Schedules being what they were, we had a tight window to record Flemeth... so I had to write all her scenes before almost anything else in DA2 was written, before I even had a team! Ack!

It was OK, though, for the most part. I knew where I wanted to take her, and a big part of it was going to explain her transition - to set her up for the future. So I whipped up a script in, like, two days and off we went. Kate was a marvel in the booth. She adored Flemeth and you could really tell.

I didn't get to meet Kate in person, however, until DAI. This came pretty late in its development, compared to when we recorded her for DA2, and we flew down to Virginia (to accommodate her schedule - she was writing her memoir at the time, I think) for a single session. It was going to be *tight*.

I was a mess. I was finally going to meet Captain Janeway... and yes yes, I know she's also more than that. But come ON.

When we sat down, I figured I'd have to talk her through the character all over again. It'd been years since that one session at the start of DA2, right? And even more since DAO.

But, no. Kate remembered Flemeth perfectly.

I remember sitting there as she told me how much she loved the character, how rare it was to get one with so much texture and possibility. She called out my writing - my writing! - and waxed poetic about how she viewed Flemeth's arc. I... I was floored. 🫠

Then we began recording. One issue that quickly reared its head was how Caroline had to speed through the lines if we hoped to finish. Kate was a trooper, and most takes she'd get it in one (which is rare), but I was alarmed because we weren't giving Kate time to read the VO comments on each line.

I brought it up, as there were some lines (so much sarcasm) that required nuance - Kate was getting them, oddly, but I was worried.

"Oh, it's fine," Kate said. "I read the comments as we go."

"How could you? We're going so fast!"

"I'm a speed reader."

Oh. OK, then. That certainly explained it. 😁

We got to the confrontation scene with Morrigan and she nailed it. Over and over. More than once, Caroline would make a call and, before I could even interject and say "no, Kate had it right, actually" Kate would explain exactly why she did it that way and why it worked for Flemeth. I was in love.

She did the "I will see her avenged!" section all in one go. I got chills. Then we got to the final scene.

You know the one. With Solas.

It was this beautiful moment. She took it somewhere quiet and sad... and when she got to that last line, we all felt it: Flemeth was dead. Everyone was in tears.

I suppose I could talk more about the process. How she started off aligned with Morrigan's original Delirium inspiration, but I didn't pull back her loopy way of talking as much (bet you wondered).

I still don't know why it was so easy to slip into her voice, but I'm grateful I got the chance. ❤️

[goodyordle]

The issue with the Vander, Silco and Felicia Scene

I want to explore more about how making Vander and Silco know Felicia before Vi and Jinx were born recontextualizes things. I have a lot of mixed feelings about this revelation, because on the one hand, it definitely makes everything about Vander’s relationship with Vi and Jinx hit harder. On the other hand, it makes both Vander and Silco more one-dimensional, plus it creates more ambiguity for the audience.

Let’s break it down. Before we even knew about this, we viewed Vander as a man who just adopted two kids from the street. This made him have a lot of nuance because this represented him putting the people of Zaun first before his animosity against topside. It showed his true leadership and explains why Zaun was so loyal to him.

Then they introduce his relationship with Felicia. This definitely creates a lot of emotional impact (I cried when I found that he was the one who named Vi and the way he was soft with Felicia melted my heart and is on my mind rent-free). But I feel like this emotional grab was a short-term benefit for the show compared to the long-term legacy Vander could have had. Now, we are conflicted if we should see Vander as someone who had a sense of loyalty to his friend or to Zaun. That’s not to say he couldn’t do both. In fact, it is both. After all, Felicia is also a Zaunite. But making them strangers (or acquaintances at least), I believe, would have created such a unique character.

Then we have Silco. Before this relationship was revealed, we saw Silco as another ambitious leader of Zaun who took a random child under his wing. He, who once was unable to empathize with Vander, eventually understood where Vander was coming from. It made him such a compelling villain because despite having this lawful evil alignment, he was portrayed as someone with humanity, empathy and humility that most people have. Now that we know he was acquainted with Felicia (I’ll explain why I don’t think they were friends later), it makes all of us wonder, did he know Vi and Powder beforehand? It makes us question his integrity and makes the speech at Vander’s statue a bit confusing, because you’d think he would understand to a small extent why Vander did the things he did. After all, they knew these kids.

However although it made things confusing, I disagree with the take that this creates a plothole for Silco’s character. Firstly, I think the writers were implying that they were not as close to Felicia as Vander was. Silco was not in Warwick’s flashbacks of the family together, and he was also not really involved in the conversation with Vander and Felicia. When they cheers, Silco doesn’t congratulate Felicia but instead says “To Zaun then”. So although the writers did what they could, the execution made things confusing.

It’s not a plothole but it does change how we see the two in a way, and whether it’s better or worse, I’m not too sure. I think a way to have improved it was if we had a scene with more people instead of just the three of them. Have Felicia talk with Connell, the actual dad (where the heck is he?? LMAO). Bring back Benzo! Make The Last Drop / Bedrock and Blisters filled with Zaunites to show Vander valuing his community. If Vander knew Felicia in this context, it would be more consistent to his leadership, because then it shows that Vander was close to her as a people. Having this small change in setting would have solved the consistency without changing the writing. It would also reinforce that Silco sees Felicia as an acquaintance more clearly.

Overall, I think this scene is one of the weakest parts of the show writing wise. And that’s already saying a lot about how good the writing is, since this scene pulls on your heart strings.

[3gremlins]

my personal head canon is that spite isn't actually in opposition to lucanis at all but actually thinks of them as a unit. spoilerish lucanis musings

like even before you do the mindscape quest for him, spite refers to them as a "we" (spite comments "they know we're not right" if rook questions lucanis about his weird behavior during that first quest)

spite actually feels a lot more like cole than the in game narrative gives him credit for- he's a spirit of determination twisted- i'd think he would have been attracted to lucanis' bloody mindedness to stay alive/survive the ossuary already and want to assist in that (and maybe it got twisted by what the venatori were doing by forcing them together? is that how they were attracting the spirits maybe? like laying out sad humans as traps to turn them into demons? if it's in the writing, it's possible i missed it). i think the deal they make is just to put the bond in terms both understand, but there's something deeper there. (as with cole, im not sure if spite totally understands what he does sometimes is harmful to lucanis- like he wants a thing and throws a tantrum and hurts lucanis, but it's kind of like they haven't worked out boundaries? you def get the vibe that spite is also protecting lucanis in other ways and is just...bad at it. they spend a long time in DAI establishing that spirits are attracted to the living world/curious about it, but don't understand it completely either and have to learn to be people/to relate to people. )

also for the mindscape quest, spite actually comes and gets rook to get their help with lucanis- that's not really the behavior of a spirit forced to be somewhere or even making the best of a bad situation, but rather one that wants to be there/cares in some way.

i really wish the game let you refer to them in a more nuanced way- spirit touched/bonded or something instead of "abomination" because they're clearly not. Also especially if you've rolled a Mourn Watch Rook- like you'd think they'd have better language for it or be more understanding. We've seen 3 (4 if you count justice twice, maybe 5 if you count mythal/flemeth?) spirit/demon partnered/created characters in the narrative and i wish the writing around them was more thoughtful about it instead of it seeming sort of one off curiosity every time.

because it's so interesting! you could even see an alt universe where the reason fenris has got creepy lyrium ghost powers is there's some kind of spirit bond there too (hey it's the venatori doing creepy venatori shit, not that big of a stretch) and why he can veer sort of wildly the same way anders/justice can depending on hawke's empathy bond re: rivalry/friendship (like a darker flip of spirit cole versus human cole maybe? ) idk there's so much there and we get little breadcrumbs lol (that's okay, i've got fan art ideas)

[torchwood-99]

Arwen Character Analysis

I'm fascinated by Arwen's character, and the hints of personality we get from her in the text. She's a largely off-page character, but with close examination, a personality does form.

The biggest indicators of Arwen's personality are revealed, naturally, through her love for Aragorn.

Brave, Loyal and Kind

We know that Arwen is willing to make great sacrifices for love. To make that choice definitely speaks of courage, and to have remained true to that choice during the years of their betrothal also speaks of the depths of her loyalty.

She is also kind. We know this because she gave Frodo passage to Valinor. That she knows he will appreciate this choice, and will need to go to Valinor to ease his suffering, also shows her to be insightful.

That Frodo is a Ring-Bearer, as her father and grandmother are, perhaps gave her additional insight into the trials of being a Ring-Bearer, and seeing the impact on them and their need to go to Valinor might have allowed her to make a reasonable conclusion as to Frodo's own needs.

Proud

While it is Elrond who states that Arwen will not give up her immortality for any man less than the King of Men, but in the same statement he says that her doom will be a bitter thing for her at the end, which we know to be true. This suggests to me less that Elrond was making conditions, and more that he knew his daughter's mind.

Of course, Aragorn being king is tied with Middle-Earth being saved, but the emphasis that is placed on Arwen's greater lineage indicates that this is a case of Aragorn needing to be worthy, as it is a matted of expediency. Aragorn needs to be king for more than practical reasons for Arwen to marry him.

When Arwen falls in love with Aragorn, it is after Galadriel dresses him in kingly clothes, and she sees Aragorn looking like a king in both dress and demeanour. From the text, it seems her choice was made there and then.

When she and Aragorn part, she acknowledges that the situation is grim. However, she says that her heart rejoices, because she knows Aragorn will be among the valiant men who will end the shadow. While Aragorn is gone, out of hope she makes a banner that will declare him to be king.

Arwen's love for Aragorn is tied intrinsically with how she views and appreciates his kingliness.

This is not to say that Arwen only loves Aragorn for a crown. Aragorn is a king, being a king is part of who he is, to not love Aragorn the King is to not love Aragorn. But it is to say that Arwen has standards. Arwen knows her heritage and the grandeur of her lineage, and no less than a King will do if she is to marry a mortal.

Luthien Come Again

Arwen is Luthien's spitting image, and people have mistaken her for Luthien. Arwen knows this, but makes a point of saying that Luthien's name is not hers, even if her fate might be.

Arwen is living under the shadow of Luthien's memory.

How does she feel about this? When she says she has been mistaken for Luthien before, she says so "gravely". Is this out of some frustration for being forever associated with Luthien, or is it because she recognises the gravitas of Luthien's choice?

Arwen makes the "choice of Luthien" and frames it so, so she clearly feels in marrying Aragorn she is following Luthien's footsteps, yet there are differences.

First, Luthien assisted Beren with his task directly. She set out and faced the same peril that Beren did, whereas Arwen remained in relative safety in Rivendell. Second, Luthien experienced Beren's death before she made her choice to accept mortality, and was the one to arrange his resurrection and their ability to live and die together. Arwen admits she did not fully comprehend the grief of mortality until long after she had made her choice, only as Aragorn lay dying. Third, it was Luthien's father who set the terms for Beren marrying her, Luthien did not give a damn. The lives Beren and Luthien lived after the quest also seem to be humbler and more removed than Aragorn and Arwen's, settling on Tol Galen.

From this, does it feel like Arwen tried to follow the path of Luthien, without going through the same journey that Luthien went on that lead to that choice?

Naïve

It seems strange that an elf who has lived for thousands of years could be naïve, but one the subject of mortality, someone who has spent centuries knowing themselves to be immortal, surrounded by immortals, would naturally be unaware of the true cost of mortality, and what it's like to live constantly under the knowledge that life will end and all that will be left is the unknown. Even those years as a mortal queen probably would not be enough to fully undo all those centuries of thinking and acting like an immortal.

It is Arwen's line about the Fall of Numenor that makes me believe that when she made the choice to marry and die with Aragorn, she did so not fully comprehending what that choice meant. She reveals she felt "scorn" for the people who caused Numenor's fall through their fear of death.

For a woman who generally seems peaceful, gentle and kind, the aggression of that word "scorn" is quite a departure from the perfect, passive image of Arwen we often have. She has deep feelings and not all of them pretty.

Here we might see that pride of hers rear it's head. You have to wonder if she compared her own courage in choosing to die, with man's "foolish" rejection of the Gift of Death, a gift that elves have been known to envy. Did she feel that the elves knew better than Men what was good for them?

Only now that she is facing Aragorn's death, and in due course, her own, she suddenly understands that terror and feels pity where once she felt scorn. And when Aragorn suggests she go to Valinor, she says no boat will take her now, whether she will it or no. That choice is beyond her, and she does not speak as someone entirely without regrets for her choice, nor does she die as one.

Among Men, but Not of Them

When Arwen dies, she dies alone.

Despite having children and possibly grandchildren, despite having been Queen of Gondor and living among mortal men for many blissful and glorious years, despite not yet wishing to die, Aragorn's death means her own. It seems Aragorn was the only thing tying her to Middle Earth, and when he goes, she does not remain in the land she was queen of for so many years, but goes to the ghost forest of Lothlorien, where she had lived with her elven kin, and dies there, alone, her grave unsung and one day to be forgotten.

She is not buried alongside Aragorn, to be remembered as a great queen who ruled alongside a great king (and indeed there's little indication of how much ruling she did, Tolkien wrote that when Aragorn went to war, that Faramir ruled in his place as Steward).

She died dwelling on a memory of the Age of Elves, instead of living on a while longer in the Age of Men.

It's worth noting that while Aragorn did spend time among mortal men, he was also raised by elves, and was as elvish as a mortal man can be. Losing Aragorn was losing that tie for Arwen. And unlike Aragorn, who went out and fought with the Gondorians and the Rohirrim and the Rangers and went to many lands ruled by mortal men, Arwen remained entirely in the lands of the elves, despite intending to become a Queen of Men.

She did not use this time as Aragorn did, seeking out mortal men and learning their ways and learning how to live with them and rule over them.

Galadriel taught Celebrian to bake Lembas bread, and Celebrian taught Arwen, but Arwen did not teach her daughters, and that art was lost.

That Arwen did not pass on this skill might indicate why her children did not give her cause enough to keep on living, they were less elvish than they were mortal, and it was the elves Arwen longed for.

Arwen is an emblem of a bygone age, and when she dies, that age ends too.

Conclusion

Arwen is kind, gracious and wise. She remained loyal and true to Aragorn through many years of waiting, and endured great heartbreak to be with him. She gave Frodo a priceless gift that no doubt spared him much suffering. She and Aragorn also invited Bilbo to their wedding, which we must respect.

Passionate, perhaps? She fell in love with Aragorn swiftly on sight after seeing his kingly qualities, and according to the text, made the decision to die for him there on the spot.

Steadfast. She made the choice quickly, but she never broke it, and did not seem to waver from that choice until Aragorn died, and the full pain of mortality hit her.

She is of a great and noble lineage and is aware of that, and shows both pride in her birth and pridefulness towards mortals. She was good to Men from what we can tell, but she never became fully one of them, and I think her pride must have played some part in that, she would condescend to be a good queen to men, but she would not be as one of them. At the same time, her years as a mortal queen would have been like seconds to her, being thousands of years old, and she perhaps did not expect them to pass as swiftly as they did.

So, Arwen, kind, proud, passionate, naïve and loyal.

[autumnmobile12]

Ambush Sim:  Touya and Hawks’ Relationship

I don’t want to call it complicated; how I write them is they’re both relatively straightforward with each other, but there is a distinct divide in how Hawks views Endeavor the hero vs how Touya views Enji his father.  That's not a part of their dynamic they can ignore, so this is the only way I can write this ship with any sense that it's a healthy one:

Hawks doesn’t know the full story and is also aware he can’t just pry it out of Touya, but he can tell with the father-son interactions that something is wrong and he has the understanding that whatever is causing Touya’s animosity is probably warranted. (He has heard the rumors other Pros share about Endeavor, has uneasily discounted them for lack of evidence and the fact none of the family members ever came forward, and has since come to the conclusion this stance may be naïvely optimistic.)  The same is true of Touya knowing Hawks has a reason to admire the hero but not knowing exactly what that reason is.  He has three main reasons for keeping silent about what his father did:

It is rooted in the years he’s already spent keeping silent in order to avoid the fallout should their family’s story go public.

It is also a matter of compassion.  He is not vindictive enough in this AU to completely ruin Hawks’ perception of his childhood hero, and this also a stance he took with his piano students.  True, there is the debate on whether or not it is honorable or even healthy to withhold that kind of information, especially when the likely response to finding that out is, ‘Wow, I wish you’d told me sooner.’  But this is the razor line everyone in this family walks in regards to their patriarch.

He's made this compromise with his sister; he figures he can do it with his partner.

So the result is Touya and Hawks have an unspoken and very temporary compromise of shelving the Endeavor issue.

They both know this is eventually going to be a discussion that can’t be avoided.

...

One thing I've noticed while writing, though, is their relationship very closely resembles these two:

And I'm pretty sure that's subconscious, but it's the personalities that match up for me.

Shinra is a more comedic character, but he's the character type you don't know to take seriously until they do something extreme and worth your undivided attention. Shinra will be joking and laughing with Celty in one scene, the next he'll be threatening a guy with a scalpel.

In the same manner, Hawks is similar. Trickster/goofball one moment, legitimately threatening the next.

Celty is also a bit of a silly character when you get down to it. In spite of being a serious and levelheaded fairy creature who's calling is to retrieve the souls of the dead and dying...she's clumsy, she misplaces things, she gets flustered, she's afraid of aliens to the point cheesy 80s sci-fi horror films scare her, and she's a terrible liar. What makes her comparable to Touya, however, is the theme of chasing something seemingly unattainable. Celty is a headless horsewoman whose head was stolen from her and she lost centuries of memories with it.

She could survive without her head, but she couldn't live without it.

And then there's Touya chasing after his father's recognition, surviving without it, and slowly learning to live without it in the Ambush Sim AU.

So in spite of the toxic elements of their relationship (and there are a few,) the way Shinra and Celty come together and balance out the bad with the good where it otherwise shouldn't happen...is adorable in all the wrong and right ways.

These two in the Ambush Sim AU are very slow-burn.

Hawks makes the slow-burn a writing requirement because of the demisexual headcanon I gave him. Putting it in the simplest terms, demisexuality is primarily needing an emotional connection first and foremost, and then there’s Touya who’s determined to keep everything emotional locked down due to past trauma. So the thought process is, 'That's a major incompatibility hurdle. Is that even gonna work?'

It's definitely one of the more challenging ship dynamics I've worked with, but after playing with the Trepha ship in the Castlevania fandom for the past couple years, I think I've got a good grasp of how to do it without it coming off as unnatural or toxic. In any case, it is an interesting ship to explore and I hope to do more with it in this AU because Touya and Hawks are very much black cat and golden retriever energy and I love that.

...

“So did you want me to cook or are you good with airport food?”

“Are you kidding me,”  Hawks laughed as he followed him.  “With how I was eating in America, I feel like I should fast for a week.  So many carbs.”

“I hear they have a good cultural variety.”

“Oh yeah, my first day there, I had barbeque pirozhki for lunch.  I don’t quite know what that is, but it was delicious.”

“I’ll find you a recipe then.”

“Really?”  He beamed at his turned back.  “You’re the best, you know that?”

“Yeah, yeah.”  Touya pulled out his phone.  “How do you spell that?

[arceus-insanity]

Endeavor Deserves No Sympathy!

I don't understand how anyone can think Endeavor was ever a good dad. It also always comes off as incredibly victim blamie, especially towards Touya, and often Shoto too.

He literally only got married and had kids to use them. He never gave a shit about their well being, never even thought about it until he had the one thing he cared about and was still miserable. I've already gone over the math proving he gave up on achieving his dream himself at 21 at the absolute latest. (https://www.tumblr.com/arceus-insanity/763259515356512256/i-liked-endeavors-character-when-he-was?source=share)

And basic math will once again be used to prove just how little this waste of flesh actually tries.

This time the focus is on how quickly he abandoned Touya and immediately went to emotional abuse via neglect & literally replacing him, and once again risking that more children be born with self-destructive quirks.

For context we only see Endeavor doing anything with his kids that's not him literally walking through and ignoring them in two circumstances. Once when Fuyumi's a newborn and Touya is attempting to crawl (not walk) over to her. And training. Those are the only times he tries to spend with any of them, even after he starts his 'atonement'

Now comparing Touya in the scene of them training and himself as a toddler and all the child imagery this series loves to use instead of actually saving imperfect victims, Touya is at least 3 (probably closer to 4) when he's taken to the doctor and they are informed of his condition

Natsuo is 4 and a half years younger than him.

We know for a fact Natsuo (& Shoto) was conceived after they got the news, not willingly either. Pregnancy takes 40 weeks average, so Touya would still be 3 when Natsuo was conceived. So once again it took this 'man' less than a year to give up and have another child he hoped to use as a tool, and was explicitly making to hurt his existing son. And as I have said plenty of times before, risking that the new kids could be born with the same disorder, I hate how convenient it is that Shoto gets near zero negative quirk side effects.

Want to know what we never see, Endeavor doing something else with Touya and Touya demanding training, it's always him walking past/ away from Touya. Considering all of the shit they've pulled to soften Endeavor's abuse both in the manga and even more so in the anime, they wouldn't skip something like this. It's not hard to tell that Touya's 'obsession with training' is really about spending time with his dad, you know like a human child that literally needs love, proven by numerous studies and research in the real world.

He throws all parenting responsibilities onto Rei, adds more children to that load, and when Touya suffers for it (like everyone else) he does nothing, doesn't even hire a nanny

Another are you kidding me take I've seen is that somehow Touya's quirk issues are worse than Midoriya's and Yuga's. Touya managed to train his quirk to produce blue fire at 13 with zero equipment and less than no help, and only lost control of it, because of the mental abuse Endeavor had inflicted on him leading him to a mental breakdown. And/ or the theory I've only seen once of AFO using his ability to force quirk activation (seen with a passed out chapter 90 during his first confrontation with All Might)

Midoriya was breaking his bones all the way into the Shie Hassaikai arc and was only able to fight because Eri and was breaking support equipment in the following arc as well. Yuga had a support belt all the way back in the entrance exam and was still struggling with that.

Speaking of Yuga let's compare parental effort here, because as much as it backfired Yuga's parents tried a whole lot more. For starters they nearly bankrupted themselves to get him a quirk, so he could feel equal. All For One is a mythic man prior to his arrest, and those who knew of him were shown to be serious long-term villain groups, so they had gone to quite a bit of effort to find that he existed to begin with. They also got him support gear (the navel belt thing) as a kid to help him with said quirk, he literally had it in the entrance exam. Endeavor never looked into that, Endeavor is not only rich too but he's a top hero he would have direct access to support equipment companies that would jump at the opportunity and it never even occurred to him.

Endeavor's name is an irony as endeavour means to try hard to do or achieve something. He never tries hard he gives up incredibly quickly the second there's any road block, but instead of moving on he makes everyone suffer for it. He's a toxic pageant mom who'd rather force their child into a toxic world and a role they don't want than work on himself

And what finally makes him change? Getting exactly what he wanted and still being miserable, and he still expects through his actions his family to cater to him.

Not his son getting a major disability due to his actions, no, he decided to double down, mentally abusing and neglecting the son he supposedly loves, raping his wife who didn't want more kids or participate in this abuse, and again risking that Natsuo & later Shoto might have that same issue. Not when his wife breaks down and permanently scars his precious masterpiece, who proceeds to rightfully blame him, and he just thinks of it as a tantrum despite it lasting a fucking decade. Not when his eldest literally dies as the result of his selfishness. Not literally during any part of this entire process!

Dabi is 23 when Endeavor finally starts to 'try' to be better, that means that for at least 24 years he has only been caring about his fucking precious number one spot in a popularity contest that he couldn't even bother to try to be likeable for, this wasn't one bad decision, this was him constantly choosing to be so insanely selfish that he found ways that shouldn't even be possible for over two decades. And it was all him.

[sufferu]

Hello, was reading your take on the Sloth IF and while I do see the themes of repression, I feel like you're selling Slothbaru short here.

When Rem asks him "Do you regret it" she's talking about having a kid (With all that happening, she had this confession. …Did he want this child to be born?).

And Subaru responds honestly, about how he tried to be a perfect husband to make up for running away (But, I can’t..show you that I am. I……I brought you with me. I’m the one who brought you with me. I wanted to give you everything I had to make you happy. I told myself that I had to do it……).

...and faces his insecurities and self-worth issues head on by accepting that he'll always be afraid, that his fear might never go away (Subaru, as someone who couldn’t look at his parents in the face, always had a fear of becoming a parent. He still does. It wasn’t gone. It probably would never go away... But, at the same time, Subaru knew something. He knew the love of the best role model parents in the whole world.) He thinks of his parents for the first time since he came to this place, admits that he wasn't a good kid, and remains determined to love his kid anyway.

It's essentially everything he was meant to say on the rooftop in From Zero, just filtered through the lens of being a parent. Sure, it took him over a year to get there, but he did face his issues in the end. Thematically, the story wouldn't have ended with that exchange between Subaru and Rem, as well as how he handled Zarestia/Reese, if the story was about him avoiding his problems and succumbing to Sloth.

I really don’t agree with that, to be honest — for starters because Rem’s question about if he regrets it or not is explicitly stated, by Subaru, to be the first time in a year that either of them have actually acknowledged the decision made in the Capital that day to run away. Even if you want to make the argument that Rem wasn’t asking about that (I’d disagree but if you wanted to make that argument) — it’s still very explicitly how Subaru interpreted the question that she was asking him. At the very least, the question of the child is the culmination of “Do you regret…any of the decisions that led to this moment?” In which case, of course, he’s only focusing on one aspect of the question — that being the birth of their child. Even as Rem explicitly grows her hair out in order to emulate her, Emilia still never gets brought up even once. He is ONLY focusing on being a parent and husband — and he’s making a commitment to that role, but in doing so he is avoiding everything else.

And, of course, he is committing to become a copy of Natsuki Kenichi, the man who’s shadow he never really managed to step out of.

This decision later reflects in his relationship with his son being the same as the one that he had with his old man, right down to him passing down that exact same hairstyle to Rigel. —Hell, Rigel’s whole character is just the culmination of all of the things that Subaru and Rem never really managed to properly digest. He’s a one-horned oni, he’s the son of one of the most respected men in his town, he’s even a closet crossdresser. Subaru never really figured out what Natsumi Schwartz was to him and never stopped emulating his father, Rem never stopped feeling guilty about being Ram’s twin and making it so both of them only had a single horn, and now Rigel gets to deal with all of it at once.

(Plus there’s the QnA detail that Subaru gets sent right back to Arc 3 when he dies, which is a pretty major hint that he really, REALLY never managed to come to terms with what happened that day.)

And also — just, on a meta level: it’s a Sin Route. It’s a little different than the others because it does not look all that bad on the surface — everything that makes it a Sin Route hinges on what Subaru specifically Does Not Say, and that honestly makes it look almost downright utopian at times — but it’s still an IF Route labeled after one of the Seven Deadly Sins. It’s marked as a Bad Ending for a reason, and it’s marked as Sloth for a reason, too.