#anyways. that has no relevance to the story

[aroaceleovaldez]

Mark Oshiro confuses me a little bit not going to lie. In the press tour for the first book all they ever talked about was how Nico is their son and Will is fine I guess. Then they said like 2 weeks before TSATS came out that they didn't understand Will's character at all and it's one of the main reasons why Will has so little POV.

Possibly unpopular opinion but I don't think it's a good, encouraging sign when the writer admits to not really caring about the deuteragonist or not even having a sense of how to write them...

Yeah, no. If you have no interest in 1/2 of the POV characters of your book, you REALLY shouldn't be writing it (or at least, not have that be a main character). Especially when the main way TSATS could have been improved is if it was primarily Will-centric instead of Nico-centric. Will basically had next to no established character prior to TSATS! He was practically a blank slate! But all the new stuff we got for Will in TSATS was so clearly disinterested and had no regard for his previously established traits (or the established timeline/canon). Which is annoying because fleshing out Will would have been the PERFECT opportunity to actually incorporate a lot of the topics that Mark Oshiro specializes in as a sensitivity reader, which was the ENTIRE REASON THEY WERE BROUGHT ON AS A CO-AUTHOR!!!!

As TSATS stands, there is no reason for Mark Oshiro specifically to have been the co-author instead of someone else. It's so clearly just a PR move from RR following the huge backlash Rick received due to his response to criticism on how he wrote Piper and Samirah (and Reyna and etc etc). This was immediately following Rick saying he wasn't going to write what would become TSATS because "it [wasn't his] place to." Most of the topics that Mark Oshiro specializes in either weren't relevant at all to TSATS or written very poorly (to downright offensively) in TSATS, so either Mark Oshiro wasn't doing their job or was not able to do their job for some reason, but either way it basically makes the theoretical justification for Mark Oshiro being the co-author/sensitivity reader irrelevant.

With Will, it was HUGE fanon back in the day for him to be trans. Trans!Will and photokinesis!Will were basically the two biggest headcanons for him (both largely popularized by Cherryandsisters). We know Rick is aware of this old fanon because he canonized photokinesis!Will. If we had gotten trans!Will, that would have been great! And then made sense why we specifically got a trans co-author! (Instead, if anything, TSATS canonized Will being cis.) If we had gotten Will being latino, that would have been amazing!!!! And also then made sense as to why they chose Mark Oshiro for the job as a latinx author/sensitivity-reader, versus potentially choosing an Italian co-author since Nico being Italian/Venetian was emphasized so much in the book (and done poorly! Yknow what they could have done to fix that? GOTTEN A SENSITIVITY READER FOR IT)! Based on the themes and focuses actually present in the book, it would have been most logical to get a queer, neurodivergent, Italian co-author or sensitivity reader who specializes in those three topics at least. But we didn't! So why was Mark Oshiro chosen instead when they only specialize in one of those topics? PR reasons. It's blatantly entirely PR reasons and no actual thought or care was put into this book (or, likely, TSATS 2 either).

It doesn't help that we're also actively being told that the published version of TSATS was a rough draft. Or that their editor blatantly isn't doing her job. Or that "The Sun And The Star" was the working title that they just kept cause they didn't bother to make an actual title. And that the final version is full of explicitly last-minute scenes that weren't checked over at all (the final Bianca scene, for one). Or the ACTIVELY ADMITTING TO SOURCING IDEAS AND INFORMATION FROM FANS! That last one is kind of important because at this level of publishing that is a HUGE no-no for legal reasons. You can get into a lot of trouble for that and there is a reason why it is Ye Olde Fandom Law to never try to pitch your ideas or headcanons to the source creator(s) and keep fandom separate from the creators. There is a REASON why Rick Riordan is so distant from the community these days and it's for PROTECTION AGAINST LEGAL REPERCUSSION. Mark Oshiro being the exact opposite while also ACTIVELY ACKNOWLEDGING sourcing concepts from fans does not bode well! It has to do with copyright stuff.

It's just. So. Sighhhhhhhh >->o <- me lying on the floor about all of this. It's sad being able to see the glimmer of what could have been at the very least a decent book underneath all this. If anyone involved in the process had actually cared just the tiniest amount.

[mythalism]

still just verbally processing my own feelings about this but i think the crux of it for me is less the decision itself and once again the way it is being sold to us. if you want a blank slate - fine. do it then. set the game 100 years in the future when all of the characters are already dead. dont put varric and harding in. maybe we meet an old, gray kieran with mythal's soul, idk it doesnt matter but anyway you can have the exact same story with solas and rook and all of the companions and have the "blank slate" you so desire. market it as such; not a direct sequel, but a solas-centric spinoff. i would have loved that game and enjoyed it immensely. but they didnt do that. the foundation of the marketing since 2018 has been solas and varric- returning characters from past games. the devs have said over and over and OVER AND OVER that the inquisitor is integral to the story. that its the "inquisitor's story too". that it was always going to have to involve solas and the inquisitor. but........ also that nothing the inquisitor did was relevant? what? its literally the writes wanting to have their cake and eat it too. you cannot make a disconnected blank-slate game about a new cast of characters when literally 1/3 of your cast is RETURNING CHARACTERS. you have been using those returning characters as the face of your marketing campaign for over 5 years. you have emphasized how much it serves as a direct sequel to inquisition's DLC. you have been banking on our attachment to these characters and our emotional investment in this world to win our attention, and eventually, our purchase. and now... a month before release, you pull out the rug from under everyone and say... actually we wanted a blank slate :). its duplicitous. i will still undoubtedly play and enjoy this game. i love solas and i have no doubt i am going to love learning more about him, a game that explores his history like this is pretty much my dream. but they should have sold me this game as THAT from the start. it is a drastic deviation from one of the core components of the dragon age franchise, and whether you believe that is for the better or for the worse, to only reveal the extent of that deviation 36 days before release is unfair at best and unethical at worst.

[captainofthetidesbreath]

ah, there's the DA fandom I remember.... honestly, and I probably shouldn't be saying anything about it, especially not this long a post, but I love to yap, like this whole world state discourse rn is so funny to me, someone who doesn't even remember most of the choices being lamented over and their consequences. like, I feel like this discourse is disproportionately fans who remember everything and are super attached to all their PCs.

and, I think it's completely valid to feel upset that these choices don't carry over in a meaningful way or don't affect the new game significantly. but, like, I do also very much understand the writers saying that they didn't want to make every single player mark off a high number of choices they don't have (or don't remember) the full context for, only to have that choice affect like five lines of flavor text overall. i know that WAS super fun and meaningful to many, but speaking for myself, making me go through a whole checklist just to change some minor stuff that doesn't really factor in is a bit tedious.

when they say that, they're not just talking about new players, that also includes casual players who have been here for over ten years too, people who didn't quite like some of the other games, or people who simply don't remember what any of this means.

I totally understand what they mean about "if we're going to port it over, it ought to actually matter." I also totally understand the thing about like, a lot of the choices don't actually affect northern Thedas and many that do in an abstruse political way, they're not really relevant for Rook (who isn't a political player of that level) or even the companions and other characters (who seem way more local and organizational politics or their primary concerns aren't at the level of The Grand Political Game).

like, again, it's valid to feel stung or disappointed, but it is kinda funny to me all of the outrage (typical of this fandom) and all of the "they're saying fuck you to all the longtime fans" as someone who has also been a fan for a long time and reacted to this with "oh thank god, i don't remember what most of these story points were anyway"

[resol-nare]

Yeah, having some of the background lines regarding the Warden or Hawke or whatever would be fun! But personally I'd rather they get brought up in a way that not only is validating but is also relevant to the story. Failing that, I actually would rather they focus on the few keep decisions they've selected because chances are that the acknowledgment of these decisions are going to be much higher quality than anything they could pull out of their asses regarding whether or not X did Y 20 years ago.

And with the game in northern Thedas, I think it makes a certain amount of sense that everything that happened in the south isn't constantly being brought up. Most people in the north probably don't even know who the fuck the Hero of Ferelden is.

Also, wait come back here. *grabs you by the front of your shirt* You DO understand that Bioware isn't making you do SHIT, right? You can change the Inquisitor. You can pick who they romanced. Yes, all of them. Gender and race specific, anyways. No one is shoving Solavellan down your throat ffs. You're a veteran player who wants your non-Solas romancing Inquisitor in the game? You can do that! You're a new player who'd rather the Inquisitor be a big ol' horned person or a short and stocky dwarf? Good news! You can do that, too!

Anyways.

The only choices I am genuinely confused that they aren't being included is the Well of Sorrows choice, and Kieran. I know Kieran's 18-20 years old by now, (if he even exists for you at all) so probably isn't following his mother around Thedas like a puppy anymore. It feels to me like it should still at least be partially relevant with Mythal still knocking around in Solas's head. Or Morrigan's. I'm not clear on that one.

The Well has got to be the worst one to not include, imo. Maybe Mythal isn't going to be relevant outside of Solas's memories or Morrigan's experiences, but I still feel like one of the Evanuris being able to control the Inquisitor or Morrigan (who can transform into a fucking dragon if she drinks from the well) would be a Concern.

If it were just the current confirmed Keep choices, and then Kieran's existence and the Well, I would be satisfied.

[diamondcitydarlin]

Alright real talk now without sassiness bc the whole anti thing against beetlebabes has me thinking about self-indulgent fantasy as a literary/storytelling device and it's something I've been thinking about with different medias lately, so this is topical ig for my current hyperfixation. Specifically I've been thinking about fantasy disavowal and the role that plays in self-indulgent/self-insert type fantasy stories, whether canon or extrapolated within fanfic. I first really learned about this concept in name from this video from contrapoints, so I have to give her credit for discussing this and explaining to me how it works in a way that blew my mind apart at the time, and I think it's the sort of thing that puts a lot of what goes on in self-indulgent fantasy stories into a different perspective, particularly when we're trying to evaluate said stories under an IRL moral microscope (and is why that approach pretty much never works or applies within this kind of story)

(Semi-long post under the cut where I mention Harry Potter as an example of a literary device- as I say within the writeup, I do not condone or support JKR or her beliefs and this is not an endorsement of her but rather a well-known example I think most people will recognize. Be aware if it's triggering for you. I also mention Twilight lol, incase that's an issue. It takes me a minute to get to Beetlejuice/Beetlebabes but I promise this is all relevant to my point, your honors)

Recently I saw a discussion within a Twilight fan group I'm in (yes I'm a Twilight fan and a rattie iykyk) about how toxic certain characters behavior would be IRL, particularly in the way several of them have a habit of making choices for Bella against her will, gifting her with things she's said she didn't want and insisting she use/wear them, etc etc. As a former Twilight hater (cuz I used to be that too many years ago!!!) I knew where they were coming from in being critical of these characters and calling them toxic, because in any other setting that would absolutely be true. Within fantasy disavowal, however, these 'toxic' behaviors are actually a way for the reader/writer (who is living vicariously through the main character) to have the main character get what they think she should have and want her to have without compromising her character or the integrity of the fantasy. Bella Swan, for example, is meant to be modest, selfless, 'not like other girls' and usually uncomfortable with bringing too much attention to herself (which makes her relatable to those who would live vicariously through her story), but of course many of those reading WANT her to have a big wedding and traditional dress anyway so that's where, for example, Alice's insistence she have those things comes into play. Yes, IRL that would be controlling, obsessive, weird, and a complete disregard of someone's wishes and boundaries but in a self-insert fantasy that tactic serves an important role to the purpose and point of the setting. WELL if you INSIST, Alice, I guess I'll just take your very generous and expensive gifts and deal with it, sigh, oh WELL!!! /s In that sense it's less demeaning and more empowering, if you're viewing it from the pov of someone wanting to immerse themselves in the fantasy.

Another example of where this is kinda used in self-insert fantasy is Harry Potter (and many others like it, and this isn't to condone JKR's terfism, this is just the example I think most people will recognize), wherein the children reading are meant to want to live vicariously through Harry and his friends and their adventures. For those children reading (and I know bc I was one once lol) the idea of being in a dangerous environment that the adults don't really shield them from entirely is very cool, it gives them a sense of independence and self-sufficiency and a sense of 'trust' from the fictional adults in their abilities to take care of themselves. From an adult's perspective now, particularly one with a child of first-year age, it's seemingly horrific how neglectful and reckless the adults in that series are with the wellbeing of the children they're responsible for (like, idk, sending a bunch of 11 year olds into the known death forest for their first detention sentence, at night, while knowing some beast is eating unicorns in said forest). But of course, within the story this constant, casual endangerment of children is never really brought up as an issue or as a reflection of some kind of immortality in the adults responsible for them as it would IRL, because it serves the purpose of self-indulgent fantasy for the children reading. It's not MEANT to be seen as a moral failing or child endangerment AT ALL so much as just the adults characters getting the fuck out of the way so the kids can have fun- unless it's like Umbridge doing it, who is established as an villain and immoral even in that setting from the jump. (And again this isn't a defend JKR post, just an explanation/example of what I'm talking about) IDK if this qualifies as fantasy disavowal perse, but it's a similar phenomenon of how behaviors -particularly those of supporting characters- can seem immoral/toxic under a real world lens but within the story serves a purpose to the reader living through the fantasy.

The way this relates to Beetlebabes for me is mostly fanon focused, but I think there are elements of disavowal in the canon as well. A lot of us who ship beetlebabes feel a kinship to Lydia in some way or another, especially those of us who watched the first film and cartoon as we ourselves were coming of age (and also probably weirdo goth kids too at the same time, I definitely was lol) and while it obviously isn't a fantasy for everyone, for a lot of us the idea of a 600-year old demon choosing and becoming obsessed with our weirdo asses BECAUSE of our weirdness is really cool actually lmao. To others, Beej pursuing Lydia so ardently against her outspoken disavowal can only be seen as intentionally toxic because they're not part of the fantasy, nor do they want to be, so seeing the merits (and empowerment) of his pursuit within this setting is beyond them. And of course, there's something to be said for the inherent nature of gothic romance as a setting, as well as the fact that movieverse Beetlejuice isn't really meant to be the pinnacle of moral direction in real life, it's meant to be a creepy, kooky dark comedy that pushes the boundaries of societal norms (not unlike what we do in the shadows). As others have said, this also isn't unlike the film Labyrinth much at all, though I RARELY see anyone coming after the Jareth/Sarah ship despite Sarah being a child in the film and Jareth being, yknow, also an ancient spirit of some kind. Perhaps because most people better understand how Labyrinth functions as a self-insert fantasy, that Jareth's obsession with Sarah is meant to be an empowering thing within that context for the young people like Sarah watching it, not an endorsement of IRL predatory behavior (ofc, Jareth being mostly a creation of Sarah's might aid with the sense of her power over the situation).

Honestly, I think it's also true for a lot of people against Beetlebabes that they identify with Lydia too, but in a way that doesn't include wanting a 600-year old demon to be obsessed with them (you do you boo, more of him to go around ig lmaooo), but instead of seeing and accepting the merits of Beej's obsession in this other kind of fantasy, they instead choose to apply real-world morals onto not only the story but the people who enjoy this story as well as their personal discomfort demands. For as much as they want to accuse others of 'not having media literacy' for shipping it, they sure jump right over the point of this literary/storytelling device. And to that end, I can't wholly blame them, because it was only within the last few years that I really realized and accepted how this works too- but I'm doing my best to explain it now, for whomever is interested.

I guess what I'm ultimately trying to say is that self-insert/self-indulgent type fantasy stories are, by design, not meant to be viewed through a real-world moral lens. The entire point of them is to transport a reader/viewer into a world where real-life doesn't apply, where someone like them is loved and obsessed over for the things that they are often disparaged for IRL and within a context where they (and the main character) still hold the reigns of control, as Lydia does over Beetlejuice time and time again (despite being a powerful 600 year old demon Beej sure lets his wife kick him around a lot, doesn't he???). It's not meant to be an endorsement or romanticization or even a depiction of IRL immorality either, as that would ruin the effect of the fantasy.

So yeah, I feel like trying to evaluate most of these stories in a real-world moral context is a fundamental misunderstanding of how this kind of storytelling works- that's not to say one can't evaluate them that way if they want, and sometimes (like other things used within the HP series) it's due, but I think it definitely becomes an issue when this 'moral evaluation' turns into one of the people who enjoy the fantasy too. The fictional flights of fancy that people like to immerse themselves into are just that; fantasy. And what's more, different people like living vicariously through different kinds of fantasies, different people are going to find different things empowering in said stories and just because one thing feels empowering for one person but demeaning to another should not mean the former person is immoral and gross in real life or would even want these things to happen in real way.

I keep trying to wrap this post up and failing, but that's basically it. I'm posting this because I know others will probably have way more intellectual insight and feedback to add about this kind of storytelling and I just think it's really fascinating to talk about. What do yall think?

[catboygirljoker]

fun writing tip: you can justify making your blorbos as good at sex as you want if you also make it depressing

i will try not to be too graphic or horny and keep it mostly to character study analysis themes core motivations plot conflicts etc type discussion. still, id really prefer that folks under 18 do not interact with me on this post or about this topic in general, thanks!

for obvious reasons this post is gonna have a cut

UNLIKE HIS DIIIIICK [EXTREMELY LOUD AIRHORNS]

. sorry i just feel like hed appreciate that joke. uh anyway

Brief discussions of: BDSM, including sadomasochism; edgeplay; derealization/dysphoria; self-destructive recklessness in a sexual context.

ok. so there's this fictional guy. and i kiiiiiiind of have a crush on him. and i'm a basic bitch, so, like, obviously, when i think about him hornystyle, i want to imagine him being good at sex.

the thing is, "good at sex" is not always a particularly interesting trait to give a character! it can often be an eyerolling power fantasy trait. like "this is my oc Chuck Dongburger he has a ten pound cock and can make a babe cum just by lookin at her" yknow. it's a trait that, handled incorrectly, is more likely to flatten conflict than create it—more likely to make stories more boring than to make them more interesting.

also, "being good at sex" isnt a magical blessing that descends upon someone by chance. it is a quality that stems from a set of experiences and traits. it is a skill that one develops, or fails to develop.

so the question is, how do i justify him being good at sex? how do i make it feel believable and interesting?

the answer is simple! make it depressing! (that is, relate it directly to the character's central themes and conflicts, and therefore make it a natural part of/inclusion in their story)

in canon, xigbar has had multiple bodies, lost his heart multiple times, allowed himself to be a vessel for darkness on multiple occasions. he has endured all of this to carry out the will of his masters. every social role we've ever seen him take has been subservient to someone else, even if it has usually also involved social power over others, too.

here are the sex/relationship headcanons i have that expand on this:

related to: gender/sexuality

bisexual. for starters. obviously. his transness i have Deep Headcanons about, but his bisexuality is just "idk im bi so hes bi hee hee"

luxu is a binary trans man who experienced severe dysphoria in his original body and never felt like that body really belonged to him in the first place. to the best of his ability he has only chosen cis male vessels, including braig. in those cases he feels extreme disconnect from his body but not [very noticeable] gender dysphoria. the only thing connecting him to his cis male bodies is his sexual characteristics. theres this great art piece that has never left my brain that conveys the idea im going for. his face his hair his bones none of those are his, none of thise feel real, none of those feel right. but what does feel right is his dick.

related to: him being Good at Sex™

he is Very Experienced. he's tried a lot of shit and had a lot of bodies and largely had nothing better to do than be a horndog and kill time suckin and fuckin. he is down for just about anything with just about anybody. he knows how bodies work and knows how to deal with the exceptions and roll with awkwardness and uncomfortableness.

he is pretty good at reading people—it's a skill he has had to develop over his lifetime. he is sometimes wrong, but usually right, and reading people, understanding them, lets him feel like he has some kind of control or power over them. this is relevant because this is part of what makes him Good at Sex. he is shockingly responsive and attentive; not completely unselfish as a lover, but he won't blindly exert his will onto the other person and expect them to respond just because he has a big dick or is going faster or harder or whatever.

related to: his backstory as luxu

sex for him is a means of exerting control over the world, proving his own competence and worth to himself and another person, gaining some simulacrum of human connection, distracting himself from his derealization, grounding himself in his body, expressing and claiming his masculinity. all things, i headcanon, he also achieves (or seeks/has sought to achieve) from keyblade mastery.

he views his bodies as disposable, and knowing that he can just jump ship if he totals a body means that he processes pain differently than most people. not in a "all pain makes him horny" way*—it's more that pain doesn't make his self-preservation kick in the same way it does for other people. in bdsm/kink settings he is a masochist [as well as a sadist] and more reckless with edgeplay (when it comes to himself) than he really ought to be.

obviously i have specific personal motivation for wanting to headcanon this (he and his body are both Significantly Older Than Me) but i don't think he's too bothered by an age gap. some people it makes sense to me to imagine that they'd really want to date within their age and maturity range, but i think xigbar's chill as long as the person he's dating is a self-posessed adult. considering how long he's been alive, he's gonna have a significant gap in experience with ANYBODY; there isn't that much of a difference between him dating a 25 year old vs a 45 or 85 year old.

he has told close romantic partners about his Whole Deal before. it has never gone well. ("what do you mean youve been moving into random people's bodies in order to stay alive long enough to bring back a guy who intentionally manipulated his students into killing all of their students via senseless war??") they never understand and he doesn't know why they don't understand (i also headcanon him having severe cognitive dissonance vis a vis the MoM but that's a different post). his instinct is to put up a wall and go "well theyre just naive and stupid and haven't seen what i've seen, theyre too sentimental to understand this". he still keeps trying (if with less frequency) because he is desperate for someone to understand.

*i want to make this crystal clear: i do not headcanon xigbar as being automatically turned on by receiving or causing pain in every context, because he is a boss in a video game franchise where he fights teenagers. i am not comfortable sexualizing those fights!

(i do however think there are contexts where he might indulge in some "battle sadomasochism" when fighting another adult—maybe he makes it weird for them on purpose to fuck with them, maybe they're both into it and it's all foreplay, etc)

related to: him being subservient

youd think that when i talked about him being subservient to others, i was building up to a headcanon about him being a sub. however it feels most correct [and fun] to me to imagine him being a dom-leaning switch vers (doesnt get dysphoria from bottoming because. prostate). social role and personal dynamics dont necessarily correspond to sexual dynamics!

the headcanon i was actually building up to was that he craves affirmation in specific ways from specific people. he is desperate for someone else to give him worth. he wants to do a good job serving an authority he deems worthy of respect. he wants to be useful, he wants to serve a purpose and have a role. he hates feeling like he needs something from someone else, and feels much more comfortable if they need something from him.

he doesn't have a praise kink in a traditional sense, but he does really get his rocks off from being Good At Sex and from his lovers clearly and obviously enjoying themselves. he doesn't wanna be told hes done a good job, he wants to know, to tell from experience that he's blown someone's mind.

furthermore, in romance, he becomes a massive simp. if he likes someone enough to fall for them then they hang the fucking moon for him. he is outside in the rain crying throwing up begging for a sniff. absolutely pathetic. its not a total transformation of personality, i think he'd really hide it and really want to hide it. but i think in most situations it'd be subtle but observable. every joke he makes is directed to them and checked against their reaction; he stands at a middle distance outside of conversation kinda watching them, observing every move, memorizing their gestures and tics and quirks. he feels i love you before the first date but won't say it until five years into the relationship.

related to: i couldnt put it in the other sections and i really only made these section headers so it wasnt just big walls of text oops

he's a low empathy emotionally constipated bitch at the best of times, so he substitutes emotional intimacy with physical intimacy. picking up people at bars or dances or what have you for one night stands, satisfying them thoroughly, and then immediately dropping out of their lives.

he actively avoids romance (and any emotional closeness, including the completely platonic kind). but he hasn't always been this way. i think Dark Road was the most recent in a long long string of experiences where he lost people he was close to. he's tired of hurting people and getting hurt.

. im not gonna get into it because im trying not to be like too too horny in this post but hes So fucking brat tamer coded to me. i think you will understand at least the surface level reasons for this. i guess if i wanted to relate it to Themes i'd say something like "there is a specific romantic and sexual fantasy in being an asshole and even hurting someone and them still wanting you and trusting you and loving you and even enjoying it" but. well we dont need to go there do we

these are just the Depressing / Character-Related / Themes-y headcanons. some of my headcanons are just like "i think this would be funny and/or in character and/or hot" but you see how long this list is anyway. if i started in on all of that then we'd be here forever.

also, these are just headcanons! they're informed by analysis but shaped heavily by what appeals to me personally, what i find hot, what i find compelling about his character. if your headcanons for him differ from mine in any way, i don't think you're Wrong, because we're talking about the sexuality of a guy who comes from a video game franchise where characters are barely allowed to hold hands. this is all just toys and playing

anyway thank you for reading this post lmao its so long

JUST LIKE HIS DIIIIIIIIIIII—

[creatingblackcharacters]

I haven't seen anyone post Madam Director Lucretia from the DnD podcast The Adventure Zone: Balance Arc so I'm going to!! 😤☺️

(Art by defenestratin)

Her character was controversial in the fandom and was a fascinating morally gray in canon imo, being the mysterious/cold/distant/intimidating director of the Bureau of Balance tasking Magnus, Taako, and Merle to go collect the story's plot macguffins: the Grand Relics.

As the campaign progresses though, and as she is coerced to spends more time with the boys while they're at base and is dragged into their silly antics again and worries about them on their dangerous missions, her softer side creeps out, her backstory is revealed on how she became "Madam Director" instead of "Lucretia," and she eventually plays a controversial role in the overarching plot as well as the finale.

(Art by Rabdoidal)

I'm glad it seems people are warming up to her these days (she's won some fan polls even!!) Cuz I think a lot of the controversy stemmed from people understanding but not really accepting that good-intentioned, loving people can make incredibly toxic decisions in the name of that love, and that intense trauma can cause even the kindest people to make the worst, irrational choices with terrible, unforeseen consequences, and that other people can choose to forgive even if you, personally, wouldn't forgive them. (All the people complaining *SPOILERS* she doesn't die at the end to atone her crimes 🔫 *spray bottles you*)

She just tries so hard and suffers such heavy personal loss across this campaign in the background, all for the sake of her friends whom she cherishes so dearly, even when it left her so emotionally shielded/alone for years, and the fact they choose in the end to look past all the damage and hurt and to just see Her and make the choice to love her anyway and and!!! 🥺🥺🥺😭🤧

I just love her a normal, healthy amount. [Send ask.]

"Madam Director" yeah I love how that sounds. That first piece is so gorgeous, I dream of being that skilled with line work 😭 If it's one thing I hate it's when people die to atone for crimes 🙄 the only way you get to die is if I kill you. Otherwise, get your ass up and start doing some repenting! I'm sorry, death does not cancel out ones actions imo. But I also get into it with peers about "not speaking ill of the dead", so. I'm glad that people are maturing to her, she sounds like quite the character.

Hot Chocolate: oooo the art for this character is dope! I love that she has depth, she's not just cold and bitter, she has plot relevant trauma and very natural reactions. Is she a player character or NPC? Also she works for the bureau of balance, that honestly requires a certain temperament in my mind; because you can't just be good, sometimes you gotta be bad. 🤷🏿‍♂️ Anywho what's her class? I'm assuming she's human. Lastly, "Hot Diggity Shit" is my new phrase 🤣

[caterpillarinacave]

Hello! Yes/No anon here! I just wanted to take a pause for clarity, to be sure we are both on the same page since a lot is happening and the path is winding ever more twisty. :)

So far, you have discovered a new world, lived with its people, learned the local language, and come across the journal of someone who passed through before you. You have made contact with the next world in the Forward Path and deciphered a small amount about this strange system including that some items develop unique properties when they pass through the door.

Currently, a group the journal describes as a cult has appeared in town. The people in the town have been open with them and told the cult you are staying at your friends farm. The cult will be showing up at the house soon, but luckily your friend was able to warn you before they got there.

To be clear, you want to grab your things, which fortunately are already packed, and race to the Forward door, leaving your friends to direct the cult to the door with instructions to stay twelve feet from you while you discuss what they're looking for you for as well as any additional information they may have and if anything should spook you you'll be jumping through and slamming the door closed?

Yep, all seems clear! Indeed, the continues to thicken! Very interesting to see how this will go. Anon, I continue to be impressed with your persistence and creativity; the story could easily have plateaued at several points and been very difficult to continue in a coherent way. However, that has clearly not discouraged your writing; I hope you know you should really be proud of your work!

I'm pretty prepared to step through this time; even if they seem friendly. It feels within reason to be like "yeah, I believe you mean no harm but I would feel more comfortable not being in the world".

I'll let my hosts know that as I leave; thank them sincerely as I can and explain that there's a pretty decent chance I won't be back soon. I'd mention that if there ever is another person from another world like me to direct them to journal I've been keeping in my room (presuming they don't find the one tossed in the bushes), and give them some more berries since thats all I've really got to offer lol. If I ever gain an understanding of this sort of travel I'll do my best to come back to this world and visit them; I feel like they deserve an update.

Then I'll just go sit at the door; keep all my stuff close of course, and keep an ear on the walkie and stuff. When I first get there, before the cult shows up, I'll scribble a lil' note about what's going on and toss it through for my otherside-of-the-door friend, just so I don't jumpscare them falling through the door screeching with a cult behind me.

I'll update the situation in the journal in the berry bush (the existence of which I will notably be keeping away from the cult members) while I wait.

Also, I'm going to *try* to write down some stuff that happens with the cult as we converse? Probably useless since I don't multitask well, but if there's some sort of super important word I'd like to have it written down lol. Maybe if theyre chill enough I can get them to go away in like. ten minute intervals. so I can feverishly scribble and they can wonder if everyone from my world is like this or if its just me.

[egophiliac]

CROWLEY SSR THOUGHTS

there is zero basis for this, but I can't get this thought of my head

I don't know why I decided to draw it this way

[bigskydreaming]

Imagine looking at a character whose entire premise is that in every stage of his life, he's made every version of himself into someone that inspires people to such a degree that EVERY SINGLE VERSION OF HIM has people wanting to literally follow in his footsteps in some way or another.....

And coming to the conclusion that like.....the most important things about him are the sum of all his trappings. His entirely homemade developed from scratch could not exist if not for what he already was and brought with him BEFORE crafting this newest version of himself trappings, with his greatest trait throughout all of it being his adaptability; his ability and willingness to roll with the punches and not try to simply weather any opposition or changes to his life but instead reshape himself as needed to better fit INTO whatever new shape his life and the world around him takes. All while managing to carry the most innate, fundamental and necessary aspects of himself from one version to the next. Thus every single version of himself is different but simultaneously every single version of himself is also undeniably the same person.

The strength of this character, to me, will always be that he can be so many versions of himself, he can become so many things, all without ever actually losing or discarding any of the aspects of himself he considers most essential, the things he's not willing to lose or give up just to keep going. Finding that road not taken by most, usually because most never even think to look for it as an option. But one that he's always able to find because the one trick he's mastered in his tumultuous life is threading that needle of not just digging in his heels in an unproductive way but rather being selective about when and where he makes a stand and decides "this is not a thing I'm willing to compromise about" but here are places and ways I can and will change and evolve and adapt in order to make it possible for me to hold onto these parts and keep them as they are.

And that's why its always so mind-boggling to me that so many writers can't seem to think of anything else to do with Dick Grayson other than invent some new reason for him to just....not be that person, or to like just take the character whose most basic fundamental trait he's NOT about to compromise on is willingly giving up his spot in the driver's seat of his own life.....and make him just a passenger in his own life and stories.

Dick Grayson at age nine....at age nineteen...at age twenty nine....the one core thread running through all versions of him is the only way he's standing back and letting you call the shots for him or putting him on the sidelines in some way is over his dead body.

HOW he goes about that, what that looks like, who he becomes and what aspects of himself he plays up at some times and what traits he lets fall by the wayside at other times when they offer less in service to his primary goal here....that changes constantly. He changes constantly.

But those changes are almost always (or at least they used to be/should be IN MY OPINION) made with the intention of keeping certain things about him or his life as consistent as possible.

That's the duality of Dick Grayson that I'm here for. The inherent contradiction of him that COULD allow for endless conflict and breaking new narrative ground in all sorts of ways if mined properly:

His eternal willingness to compromise....but only ever in pursuit of doubling down on the ways he's not willing to compromise.

Forever walking that tightrope in ways that only a kid born and raised in a circus could ever hope to.

[lucalicatteart]

 sculpted a strange shimmery two headed snail, speckled with wild flowers on it's shell~

[lemonhemlock]

tried watching the new queen charlotte series but was immediately put off by the ridiculous anti-corset propaganda, so get ready for another rant.

first of all, this is the georgian era so what she's wearing are called /stays/ - corsets are a victorian invention. why do we still not know this in 2023 when period productions have remained consistently popular throughout the years? the concept of tighlacing (the goal being a reduction of the waist) is also victorian and was not the norm at all and v much an extreme practice. this understanding of history is so superficial, it's as if an alien were to open up People magazine and conclude that all human women resort to butt injections and lip fillers to stay with the fashion of the times. also, no, you cannot tighlace in stays to obtain a waist reduction because they are shaped like a funnel (picture 1 = long stays, 2 = short regency stays, 3 = corset)

charlotte goes on to complain about how dangerous whalebone is and that it might kill her if she makes the wrong move. what the actual fuck? whalebone was actually the very best material to use for this because it was sturdy yet flexible and allowed the /stays/ to completely and comfortably mold around a woman's unique body shape. one of the reasons why today it is v difficult to replicate the same effect in corsetry is because we do not have access to whalebone (killing whales is not cool for obvious reasons) so corset-makers have to resort to other materials like plastic or metal, which CAN break. whereas whalebone doesn't really break as easily. furthermore, stays/corsets were NEVER worn on bare skin, but with a chemise/shift underneath.

why did women in the past resort to this type of undergarment, you ask? well, apart from the fact that women need bust support, the stays also serve the purpose of allowing all the many skirts and petticoats to be placed comfortably onto the waist. you try piling on that much fabric around your bare waist and see how you like it and if you can even carry it all around without it cutting into your stomach.

clothes throughout human history did cater to the popular fashions of the time, yes, but they also reflected the technological limitations and there was thus a practical aspect to it. this is a time before elastic bands, before industrialization and fast fashion, clothes are v difficult to make, everything is done by hand, so a lot of care is put into preserving them, because they are /expensive/ and labour intensive. you don't want your fancy outergarments to get ruined so you wear a lot of undergarments to absorb your bodily fluids since those are easier to make and don't have to look "pretty", can be stained and patchy etc. again, why do you need so many layers in the first place? because this is a time before comfortable heating, with poorly isolated and drafty houses, and it's bloody cold otherwise.

the third reason why that monologue was so dumb is because CHARLOTTE is the reason regency court dress was so preposterous. long story short, in a few decades, the fashionable silhouette changes wildly from the late 1700s to the 1810s.

the regency waistline was much higher and the gowns were much more flowy and unstructured than the late georgian ones (what's commonly known as the empire waistline). the long stays of the late 1700s were now replaced with short stays that really were similar to modern bras. the scene in the first season of bridgerton where they squeeze penelope's sister into what looks like a pair of long stays (?) is bonkers bc no one would wear a waist-constricting boned undergarment under a regency dress. why would they? the natural waist is not even emphasized in any way. this is just another reason to peddle the women-were-oppressed-by-their-lingerie agenda. so if charlotte really hated long stays that much, regency would really have been her time to shine, right? wrong. the woman loved the fashions of her youth so much she forced everyone who came to court to still comply to them, which is why we get the absolutely atrocious regency court dresses - essentially a combination of the georgian style with side panniers, but with an empire waistline.

yeah, this is how daphne SHOULD have looked like when she was presented at court in front of charlotte. i can understand why the showrunners decided to just leave her in a regency silhouette because this is ugly af. but, anyway, queen charlotte is the last person on earth to be complaining about how uncomfortable stays are.

creative licence aside, the reason this pisses me off is because it is SUCH lazy storytelling. the show wants us to know charlotte is a spunky pseudo-feminist character so the easiest way to do that is to have her complain about the evil 'corset' trying to kill her. it is so profoundly ahistorical and does nothing to contribute to the conversation about women's true problems and true limitations during that time. instead of genuinely exploring social history and women's actual lived experiences, we are STILL, in the year of our lord 2023, diverting the discourse towards fabricated issues that never existed in the first place.

the reasons actresses complain about boned underwear in interviews are manifold. costume designers are very overworked, they have to produce clothes for hundreds of people in a very short time, so they simply do not have the time or resources to construct corsets/stays that fit the actresses like they are supposed to. in the past, these garments were made individually for every person and completely to their own requirements. they also make these actresses wear the boning on BARE skin to look extra sexy to the audience or to emphasize their oppression - that never happened, a shift was always worn underneath (hello dakota fanning scene in the alienist??).

moreover, they lace them up until they constrict their ribcages - these women are already super thin and their bodies cannot support more reduction - instead of relying on the historical practices of padding and illusion. nowadays, body parts are what's fashionable - that's why so many resort to fat transfers or breast implants or starving themselves to achieve a flat stomach. in the past, anyone of any size could have accomplished the fashionable silhouette because they had a wide array of accouterments to plop underneath their garments - panniers, bustles, hoop skirts, padding of any sort. it didn't matter how big your waist was, you just padded other areas until you achieved the desired shape. fat women wore corsets/stays, too. working women, who did a lot of physical labour, did the same. how were they able to perform all of their tasks if they were incapable of moving or breathing? even today, people wear medical corsets all the time.

TLDR the media's obsession with portraying modern women as so liberated because they wear bras instead of "patriarchal" underwear is so tedious.

EDIT: Some very basic chronological tadpoles to make this easier to place within historical context. "Georgian" is used to denote the 18th+ century when Great Britain was ruled by several kings named George, so roughly 1714-1830. Within this interval, we refer to the Regency period as encompassing the regency of Prince George, future King George IV, when his father George III was incapacitated by mental illness. The official political regency took place during 1811-1820, but culturally speaking, this was extended to roughly the end of the 18th century up to maybe 1830 or 1837. This is the time period of Napoleonic wars and Jane Austen novels, so all her heroines should normally wear Regency styles. Think "empire waistline" as in Imperial France and Napoleon. The Victorian era (and its corsets) follows throughout the rest of the 19th century. Queen Charlotte was a contemporary of Marie Antoinette's, so they should be dressed in similar fashions (robe à la française vs robe à la anglais).

[welcometogrouchland]

[ID: two pieces of digital fanart depicting Luz and Belos from the owl house dressed as Sarah and Jareth from Labyrinth (1986), respectively. They're wearing the costumes from the hallucination/ballroom scene. In the first piece Luz stands in the foreground with her skirt bunched in her fists, facing towards us but looking at something out of frame. She has a necklace of her egg palismen and a rod of Asclepius hairpin, and is wearing her white vans under her ballgown. Belos stands behind her in shadow, looking down at her and holding up a light glyph. The background is black. The second image is the same piece except with no shading, more vibrant colours and a purple background. End ID] @toh-described

🦉💫Don't tell me truth hurts little girl/Cause it hurts like hell🔮🌟

Labyrinth au!! Honestly surprised I've never seen one of these before?? feels very fitting. But I guess I'm the only one w/ this specific brainrot cocktail lol

(DO NOT TAG AS SHIP OR I WILL EXPLODE YOUR EYEBALLS💥)

[gunpowdercarousel]

It's weird that Larian seems to show Astarion a lot of favoritism in terms of content and yet his companion storyline is such a side quest compared to all the others. As far as I'm aware he has no real connection to the mindflayers/Absolute other than the initial kidnapping/parasite insertion, which is - like - the bare minimum needed to have a connection at all.

His conflict with Cazador is such a random aside when you're in Baldur's Gate. It's like yeah I need to stop the other two Chosen, I need to solve this murder conspiracy, locate the Elder Brain, deal with Raphael, figure out what to do with the Crown of Karsus, and... oh yeah, I guess there's Astarion's thing to deal with, too.

It's hilarious, really, because it means while this one huge, world-ending event was going on there was also - by complete coincidence - an entire OTHER world-ending event happening just down the street that wasn't connected in any way. Not only is the Absolute's army on the march, but Cazador is trying to become the Vampire Ascendant at the same time and only ASTARION knows about it. Cazador is literally just some OTHER bbeg whose centuries-old plan happens to be coming to fruition the same week as the Chosen's.

I literally almost forgot to do his plotline because it had so little to do with the overarching conflict of the story. The only connection he ever really makes is with Raphael, who he needs ONCE for ONE minor thing and that's it. And Raphael isn't even that important to the Absolute plot, himself.

Astarion doesn't really have any connections with the Chosen, any other characters, any other antagonists, he's just kind of his own thing. Once you deal with Cazador he's just kind of along for the ride. Meanwhile, Wyll's father is integral to the Chosen's plan, Shadowheart has the plot McGuffin that can foil the Absolute, Lae'zel's people are sworn enemies of the mindflayers, and Gale wants the Crown of Karsus for himself, not to mention his Goddess is literally tasking him to deal with the Absolute.

Everyone else has a good reason to be there EXCEPT ASTARION. Like he's just there because he has a worm.

Anyway, rant over.

[tj-crochets]

Hey y'all! I am considering trying listening to podfics, but I have no idea where to start. Like, I read a lot of fanfic, but idk how one goes about listening to them? Is it like an app, or a download it kind of thing, or what? Do you have any advice or specific recommendations? In the past I have really, really struggled with books on tape because I cannot focus on just listening, but I like listening to like sort of documentary-ish videos while sewing and that's just a person talking, so probably I would be able to focus on audiobooks or podfics now?

[astralprisms]

[☺ Skaro - The Shield of Shra'kt'alor☺]

1. [CHARACTER INFO]

OC NAME: Skaro

OC PRONOUS: He/Him

AUTHOR: Rook

2. [DIALOGUE]

1. Greeting message:

Do you have need of me?

2. Identify yourself:

I am Skaro of Shra'kt'lor, though I haven't called that place home in a long time.

3. Tell me about your Creche:

No creche, a monastery in the midst of Chaos. One of many. There isn't much to say. There we were trained, and there I learned to harness my psionic energy to better defend my mind and body, though I left to pursue a different path once that training was complete.

4. I need to know how you fight::

You may be expecting a monk, but the blade says otherwise. A fighter, then. But don't get too comfortable -- how many wizards do you know that can also swing a sword? I am a Zerth. I may prefer a blade to fists, but there is more to my fighting than meets the eye.

5. Can I ask a more personal question?

Not at the moment. I'm here on business.

3. [GRAPHICS]

4. [BONUS RESOURCES]

Skaro started life as Xa'rok's Dream Guardian, so you'll often see him in the Guardian's armor, but I got too attached to him, so he gets to exist on his own now, too.

In the AU in which he exists alongside Xa'rok as himself and not just the visage of a prisoner the Emperor once met, Skaro was born in Shra'kt'lor and became both a philosophical student of Zerthimon's and a practitioner of arcane-focused fighting, earning himself the honorary and hereditary title of Zerth. He has been around for quite some time -- age undefined but his physical body is somewhere in his 50s -- and in that time grown tired of the us against them mentality that keeps the gith people splintered instead of whole. He left Shra'kt'lor to follow this desire for unification, interplanar-traveled often, and found himself invited to and then a part of the sha'sal khou. He has been working with the organization for years and after meeting Xa'rok in his travels, brought them along into the fold. In this universe, he and Xa'rok are partnered and they continue Xa'rok's work alongside their work for the Sha'sal Khou, as some of their interests align.

@vikintor