#as a whole rather than line-by-line

[hello-eeveev]

How to Rest: Director's Commentary—Chapter 2

| Chapter 1 | Chapter 2 | Chapter 3 | Chapter 4 | Chapter 5 | Chapter 6 |

Chapter 2 is for cozy vibes, further establishing themes, and lightly pushing my grey-ace Caleb Widogast agenda. Chapter 2 Commentary is for discussing where Caleb’s head is at at this point in my timeline for this fic series and why it’s there, and further explaining my grey-ace Caleb Widogast agenda. In fact, I’m realizing that this chapter is kind of a companion piece to On the Nature of Attraction and I’m posting this on its anniversary! What perfect timing!

Let’s get started!

(spoiler warning for the entirely of How to Rest)

The setting for this is New Dawn, aka Exandrian New Year. It’s snowing in Rexxentrum and Essek visits Caleb to welcome in the new year. I imagine that just before this chapter begins, they had a nice dinner. I wrote this back before Mighty Nein Reunited came in and made my fics not canon-compliant, so I was working under the assumption that Beau and Yasha also lived in Rexxentrum, so maybe Caleb and Essek had dinner with them or maybe they stayed in. That can be up to the reader. Either way, it’s time for a fireplace, hot chocolate, and a cat, so it’s cozy vibes all around.

Let’s discuss the cat. I love cats. I don’t think that really leads into the discussion, but I gotta say it. It’s probably also pretty evident in how I wrote the cat. Anyway.

I haven’t written Caleb as adopting any cats of his own yet, and that’s because even this long after the campaign ended (1.5 years), he’s still not quite… settled. In 141, we’re given “six months to a year” before the shadowgast Aeor trip, which is implied to take place after the close of the Ikithon trial, and in my mind, it has always been much closer to that one year mark. So in the continuity of this fic series, Caleb spent the better part of a year dealing with the trial, which is not the most grounding thing to experience, and then he goes to Aeor with Essek for a month or two, during which he has to decide if he is going to risk the entire timeline to bring his parents back. That’s a lot. On both a material and spiritual level. And adopting a cat is big and permanent, and that’s just not where Caleb has been until quite recently. And it’s only now, after all this emotional turmoil has been resolved, that he is even able to start to settle into this life he’s making for himself, but he’s also still learning what that looks and feels like because he has next to no experience with a life of comfort and rest. The closest he got was his childhood, but that was 20 years ago, and even then, his life in Blumenthal is so drastically different from his current one. 

That’s where the title “How to Rest” comes from. Caleb doesn’t know how to properly rest and he’s trying to learn how. That’s also why he hasn’t started teaching at Soltryce even though that is very much his plan for the future. He needs to learn to live for himself for a while before he takes on the next big thing. Mentally, I am throwing blankets and pillows at him and begging him to take a nap.

…so yeah. no cat quite yet. 

But he does feed the strays, and he’s been doing that long enough that they know where he lives and that he’s a safe person to go to if, for example, they need a warm house to sleep in when it’s snowing in Rexxentrum.

Anyway, that’s a lot of preamble to discuss what is, essentially, 1500 words of Essek and Caleb kissing, but hey. that’s why we’re here :)

I’m not going to do a detailed breakdown of the initial cat section because it would pretty much just be, “hey, here’s a cat doing cute cat things and here’s Essek doing cute Essek things,” and I think that sums it up well enough.

They each drank from their cocoa, and as Caleb lowered his cup, he felt a tentative shoulder against his own. Essek was staring straight ahead, looking nonchalant as their arms brushed. Warmth flared in Caleb’s chest. He leaned further against Essek and caught a glimpse of the corner of Essek’s mouth pulling into a slight smile, despite his best efforts to hide it behind his mug.

It is still early enough in their relationship that Essek is still working out how to be direct, especially when it comes to bids for physical affection, but he’s self-aware enough that his coyness is more playful than it is an actual mask. He’s not really trying to hide his intentions, but he knows he is unable to just express them outright, so he does the “subtle” thing that his brain allows him, knowing that Caleb will understand and reciprocate.

He cupped Essek’s face in one hand and turned it towards him. Smiles such as the one Essek wore now—genuine smiles that touched his eyes and created a small dimple in his cheek—were once a rarity, but they seemed to be appearing with increasing frequency. At least whenever Caleb saw him.

Caleb gets a front row seat to the gradual lowering of Essek’s walls, and he is a big reason why Essek is able to! He makes Essek happy! These smiles are precious for those reasons and because Essek does not get the opportunity to be so genuine or so content most other places.

And something something who else does Essek let close enough—both emotionally and physically—to see all the ways his smile changes his face.

Then there’s cuddling and kissing, and they like each other so much, and it’s all very cute and sweet, but then we get into my grey-ace Caleb agenda. This is for two reasons: 1) set up the plot point for On the Nature of Attraction, and 2) the more grey-ace Caleb content there is, the happier I am.

He leaned forward eagerly, knowing how much closer he could hold him and how much better he could kiss him if they were laying down, without pesky things like knees and legs getting in the way.

This is Caleb’s intention. Nothing more than that. Caleb as the narrator is not obfuscating any secondary motive.

Essek tensed for a moment, as if he were considering something, then pushed them both upright with a small shake of his head.

Essek, however, cannot read Caleb’s mind, and isn’t sure if the motion to lay down is an implication of or invitation for sex. Certainly, the way romantic relationships are talked about would suggest that it is. And when confronted with the (perceived) possibility, Essek learns that his answer is “nope,” and he draws that boundary, which is readily accepted.

And it is because of this boundary that Essek establishes that Caleb realizes that his internal script for anything “romantic” that involves physicality has been very much affected by the Volstrucker training (see: that one tidbit Liam gave us in lockdown-era Talks Machina, that they were taught to be “as sexual as they needed to be” to get results for the Empire) and by his relationship with Astrid and Eadwulf being his main coping mechanism during that time. 

I have written in my notes for this chapter that Caleb has this internal script of “lots of kissing leads to intense make-outs leads to, if not sex outright, something more sexual than not.” And while I believe he understood in theory that this does not have to be the case, and that it certainly wouldn’t be the case with Essek this early on in their relationship, it isn’t until this moment that it really starts to sink in. And then he learns that he likes that they can just kiss and cuddle and that it doesn’t have to be a preamble to more sexual things, which he is also starting to get an inkling that maybe there’s some trauma mixed up in there.

and idk i think grey-ace Caleb is neat and considering the ways his trauma impacts that is cool (she says, feeling a great deal of complicated emotion)

Essek leaned fully into it, smiling and hooking his legs over Caleb’s so he was practically in his lap.

One thing I wrote when I was planning out this chapter was “this is a conversation without words.” Obviously, there’s some words still happening, but they’re not terribly explanatory, so they must rely on non-verbal cues.

With his boundary established and respected, and now that he has had a moment to come down from his initial “nope” and recognize Caleb’s action for what it really was—a desire for more physical closeness—Essek is able to respond in a way that meets both their needs.

“I am very happy that you are here,” he whispered.  Essek’s fingers curled tighter in Caleb’s hair, and he turned his head and pressed his nose to the side of Caleb’s. “As am I.”

They just like each other so much. And they make each other happy just by being there.

“Sometimes I wish we were back in Aeor,” Caleb said after a while.  “Do you now?” Essek sounded amused, if a bit drowsy. “Mm,” Caleb said with a nod. “I miss studying magic with you every day, knowing that you were always close by.” “I could do without the bitter cold and mage-killing monsters,” Essek chuckled. He tightened his arms around Caleb’s shoulders. “But yes. I miss that, too.”

One thing I frequently try to do when writing Caleb’s dialogue is have him say something that’s like, a few steps removed from what he actually means. People talk like this in general, but Caleb’s meaning tends to be a few more layers deep than the average person’s, especially when he is stressed or experiencing heightened emotion. It’s one of the things I like about him; I think it’s funny.

This exchange is a very obvious example of this: Caleb says something, Essek lightly challenges him on that, and then Caleb is able to state more clearly what it is he actually wants. In this case, while it’s still in the frame of Aeor, Caleb is able to tell Essek that he wants to spend more time with him and that he feels better when Essek is nearby. And Essek is able to reciprocate while still keeping it within the “safe” zone of “haha wouldn’t it be nice to be back in Aeor? haha jk… but?” They are starting to build ways of communicating with each other, and this is one of them.

“Where will you go after this?” Caleb asked.  “You know I can’t say.” He sighed. “I know. But you will be safe?” “I will, I promise. And I will see you again as soon as I am able.”

And the tragedy of their situation is that Caleb can’t know where Essek is most of the time, only that he will be far away, because that’s the best way to keep them both safe. And yes, Essek promises to be safe, but how much of that is within his control?

“I am afraid,” he said, taking Caleb’s hands from his waist and bringing them up to his lips, “that it is time for me to go.” Caleb groaned and felt his face contort into a pout that was almost embarrassing, except that it made Essek laugh, and it was a sound so beautiful that it washed away any feeling of shame, leaving only warm happiness in its stead. “Soon, Caleb Widogast,” Essek said as he kissed Caleb’s knuckles, voice brimming with fondness.

I love this image. It is so full of affection, particularly on Essek’s behalf. If I could figure out a good and interesting angle, I would draw it. I just think it’s cute and sweet and that’s what we’re really about over here.

Essek kissed him on the cheek. “Rest well.” “Travel safe.”

These are their hopes for each other at this point in time. Essek wants Caleb to have peace and rest, and Caleb wants Essek to be safe while he is alone on the road. They are very normal things to say when parting, but they are being completely earnest here.

So Essek leaves, and Caleb has a one-sided conversation with the cat. So to close out this chapter commentary, I will be showing you this scene again, with the cat dialogue included:

The cat he was hosting for the night, seeming to notice Caleb’s sudden lack of companionship, stood from his spot in front of the fire with a meow, stretched, and padded up to the couch. “Hello.” “Oh, hello. Do you need something from me?” Caleb asked.  The cat butted his head against Caleb’s legs, then ran the whole length of his body along his shins, tail curling around them. He meowed again—“I would like pets”—and looked up at Caleb with round, eager eyes.  “Oh, come here, Kätzchen.” Caleb scooped up the cat and laid down on the couch with him on his chest. “Thank you for keeping me company.” He scratched the cat’s ears and chin. “I think I must like him rather a lot, hm? To feel his absence so soon after he’s left.” “Perhaps you’re in love with him,” the cat chirruped as he settled into a loaf, paws softly kneading into Caleb’s shirt.  “Well, I don’t know if I would say that,” Caleb answered. “Something akin to it, maybe.” The cat pressed forward and rubbed his head along Caleb’s beard, purring loudly. “I think so.” “Probably,” Caleb conceded. “But patience, my friend. These things take time. It is not as simple for everyone else as it is for you.” Caleb kissed the cat on his little forehead and closed his eyes. Purrs rumbled through his chest and ribs, and he let the rhythm lull him into a pleasant, dreamless sleep.

And that’s Chapter 2! I hope you enjoyed! May you all have a nice nap with a purring cat (or whatever your preferred equivalent is).

Until next time!

[billpottsismygf]

Doctor Who: The Impossible Planet & The Satan Pit / The Legend of Ruby Sunday

[starrysharks]

winter assassin outfit

[desire-for-madness]

Can someone send me some sources as to why Korea loves the "sacrificial separations" trope so much, that it shows itself in almost every single romantic storyline (rarely suiting the plot)? I've heard it is because of the history of familial seperation due to North Korea and South Korea, but it's been so long I feel there might be more to it.

Almost everytime it is unnecessary seperations due to lack of communication. It doesn't make the relationships stronger, it actually makes it more unstable if your partner keeps abandoning you at any sign of trouble.

I loved the show Hidden Love because it was the only show where the couple went through everything together. Why can't Korea also push this instead of the idea that you're not worth fighting for. "I'd rather be miserable, than fight for happiness with you"...

[lemonisntreal]

Avoiding lineart at all costs

Also hey yeah I changed the blog aesthetic, next post's gonna be an "About Me" because I want one lmao ☝️ [edit: me when I lie]

[christine-ye]

Nice 👍🏻

[cabeswaterdrowned]

Something interesting is that Ronan doesn’t immediately connect the “Adam would hate this Gansey” to his description of the Gansey on fire he knows, the Gansey who contains every wild spark etc., just that it’s a Gansey who doesn’t tend to exist around Adam because Adam can be centering/soothing for Gansey as we see in TRB pre the ending (and wild and angry aren’t synonyms, so I think Ronan qualifies Gansey on fire as a different Gansey from the one brought out by fights with Adam too. then again a lot of Adansey’s most major fights are when no one else is around to witness so could also be some unreliability there..). It’s Gansey on this specific night and the way he is interacting with Kavinsky, that glacial laugh that is meant to portray superiority and not humor, the type that would unequivocally say he’s better than other people (not that Adam would have issue with saying Kavinsky is lesser than them he doesn’t give a fuck about Kavinsky. but he likes that normal Gansey thinks all human life has value later) is a side to Gansey that Ronan thinks Adam would hate: “But this was not Gansey as usual. This was Gansey with a lofty tilt to his chin, a condescending quirk to his mouth. A Gansey that was aware that no matter what went down here tonight, he would still go back to Monmouth Manufacturing and rule his particular corner of the world. This was a Gansey, Ronan realized, that Adam would hate. Gansey said, “And what is it my dog needs?” 

The Gansey that Adam would hate isn’t necessarily wild Gansey although there is definite overlap here / the wildness is what allows this Gansey to come forth, it’s arrogant to the point of being cruel Gansey. A Gansey who is simultaneously less in control / more destructive and actively is very comfortable having control over other people, in ruling, in being arrogant or superior, which it makes sense would bother Adam so much more than Ronan because of class dynamics and Adam’s control issues and fear of Gansey proving he shouldn’t care for / trust him by exerting control over him. This is a version of Gansey who could really easily hurt Adam (taking notes on this scene for my Gansey comes back wrong / no humanity Gansey fic idea).Also want to contrast this from how Adam reacts to a Gansey who is exuding confidence/power but is extremely controlled about it in the DC section, because there are things he really dislikes about that Gansey but he’s also quite enamored by him in a really unhealthy way, and it generally…. Is a Gansey that riles Adam up a lot in a few ways imo. But he definitely sees that Gansey sometimes and wishes for the control to break which is actually a bit similar to Ronan enjoying this less in control Gansey. So I do think Ronan is right that Adam’s reaction to this Gansey would include hate and he wouldn’t have the affinity for him Ronan does but I also think his reaction would be more complex than just negative.

[grassoftunnel]

Choice Theft in the second degree, with utter disrespect

“To take the choice of another … to forget their concrete reality, to abstract them, to forget that you are a node in a matrix, that actions have consequences. We must not take the choice of another being. ”

from Perdido Street Station by China Miéville

The way Genji, Kumasawa, and Nanjo constantly refer to the rape as being like…The One Sin that Kinzo ever did in regards to Beatrice 2. As though they weren’t there actively helping him to raise her in isolation, imprisonment, lying to her about the world, about herself. As if that’s not also a nightmarish abusive situation already, just on it’s own. We have so little of Beatrice 2, but it’s an undeniable fact that she was a human utterly devoid of agency in every single way.. They stole from her even the choice to be angry or upset or aware about what was happening to her, what had happened to her. Of the choice to be a human and not a witch. Of the choice to be a daughter and not a wife. Genji’s half-truth phrasings during the games too when dodging confirmation from the siblings about whether Kinzo had a child with his mistress are especially disgusting. Since he’s not just outright lying like Nanjo, but denying Beatrice 2’s personhood as an individual, and slyly using Kinzo’s grooming logic that she was not really herself, but someone else (her mother), even if he did genuinely feel bad for her. I’m sure Genji, Kumasawa, and Nanjo contented themselves by thinking that a bird in a cage doesn’t long for the outside. But that’s a theft in itself. And this choice theft is only continued with Sayo. Robbed of her own unsurgically-altered body. Robbed of the context of her life. Robbed of the ability to make choices based on those two things. And then in telling her, far too late, she is robbed of the mundane, uncomplicated love that had existed in her heart for Battler. Robbed of a lineage not tainted by the most horrific abuse. Robbed even of the ability to look at her own father, at the people who raised her, with respect. Like…HELL IS NOT HOT ENOUGH!!!!

[fauvester]

cannot STRESS how much i love your svsss demon prince oc. his hair... the cunty clothes... the coloring on his eyes and fingers and lips.... ohhh goddd

demon SLAYYYYYYYYYYYYYYY

[bacchuschucklefuck]

Can you expand on what you mean by Baron being "too cool" to really fit a horror monster? It's a very interesting concept and I'd love to hear your thoughts. Is it that they're too active/involved/tangible and it detracts from their scariness?

I feel like I should preface this with a wall of disclaimers lmao 1/I am a hardcore, down-to-the-marrow, avid, deeply sincere horror enthusiast, esp. horror creatures. this usually means my mileage is vastly different from the average populace's, and my scaredy bone has been disintegrated by longterm exposure. most things in a piece of horror media won't scare me! so I practically never use that on its own as the scale to talk abt horror experiences, but when something does scare me it's always a special occasion to be treasured. 2/canon d20 is never really meant to be horror horror, and for good reasons: it doesn't fit the company's output, it takes a kind of carelessness in production estimation that is always a huge risk, it's often vulnerable in a way that kinda goes against how TTRPGs usually facilitates vulnerability, and for most people it's just! stressful! d20, even with the "horror-themed" seasons, generally just plays with horror tropes and stays focused in its goal of being a comedy improv tabletop theater show. 3/fantasy high's chosen system is DnD, which as I've mentioned before is before all a combat-based game system, which means the magic circle of play is drawn based on stats that facilitate and prioritize combat. want or not this affects every interaction you have in the game, and given fantasy high's concept from the ground up (everyone's going to school of DnD stuff to get better at DnD) it's doubly relevant. 4/This Is Fine I have no quarrel with this. my meters are internal, I do not ask this show to be anything it doesn't advertise itself to be, and what it is is fucking great! I like it! when I expand on this ask's question it will be like a physicist going insane in a lab. that's the mindset we're going in with.

disclaimers done. my stance on horror as a genre is that it's a utility genre rather than a content genre or a demographic genre; it is the discard of narratives. it's the trash pile. horror, above being scary, is about being ugly and messy, it's the cracks on the ground any story inevitably steps over to stay a genre that isn't horror. the genre's been around long enough to develop a codex and a general language that medias and makers and enthusiasts of the genre can use to talk about and build onto, but if you go into individual pieces there's really no unifying Horror Story. one person's beautiful life can be another's horror story, it's just how it is.

this makes The Monster a deeply intriguing piece of the genre. thing is a monster is in a decent percentage of any story - it's just when the antagonist force steps into something past a certain line traced out in the story's world. monstrousness is in pretty much every western fantasy story, it's in any story with a hero and something to vanquish or win; more than anything it's a proxy of that thing up there. the line in a narrative's world. the monster is the guard of the unknown lands, where heroic, civilized people don't tread.

what does this mean in the context of horror? the genre is about that perceived lawlessness, that "unknown land" so to say. we're in the monster's home. that's the literary context that we often walk into a horror piece with; the monster knows more than you about where you are. it may not understand you, but it holds more information than you, and with that it moves swifter than you, has more covered than you, and is more assured in its existence in this context than you. it's a struggle to catch up to it, it's nigh impossible to get one over it, and you're never sure it'll 100% work, because you just don't have the information necessary to.

with that framing you can kinda see where I'm coming from here: horror's often about the breaking of rules. I always think a monster's most effective when it breaks well-established rules of both existence and visual storytelling. think Possum (2018) or Undertale's Omega Flowey or the Xenomorph Queen - unique change in medium, unique change in graphic, unique change in design language, etc. in that sense I actually really like how canon baron plays out: they don't really function like anything else in the fantasy high universe, the bad kids have not managed to kill them when they've felled literal gods, their domain in fhjy literally introduces new mechanics to encompass their existence! from an experience design standpoint they slap mad shit. BUT! I can't help finding their character, like as a character riz (and the other bad kids, eventually) interact with, to be very... coherent? in design. this is kinda hard for me to articulate in words, it's more often a sense you get once you've looked at enough of these scrumptious fuckers, their general design and the way they show up is just kinda too clean, so to say. always kinda newly made? fresh unboxed. it, once again, makes sense for their lore - they are looking for more about themself from riz - and their function - they're an antagonist in a game experience, they're meant to be interacted with in a way that produces results and meshes with the existing magic circle - but that shininess takes away from the implied history they should have dominion over and the person they're haunting doesn't.

from another angle there is kinda something there about how put-together canon baron is as a concept; the domain they call home is riz's deep-seeded fears, extremely vulnerable things he's drawn borders around to quarantine and refused to walk into. things that from his perspective would irreversibly shatter certain pleasant fictions his world is built on top of. canon baron, While Extremely Cool, I feel is kinda too neat to connect with and signify the apocalyticized mess that'd result from this paradigm shift. the part where they're in riz's briefcase and looking through every mirror is Very Cool And Fucked Up! but ultimately the show draws a line around them as well, by making game-physical, tangible spaces they're in (the mirrors and the haunted mordred manor) and put riz and the bad kids there only when they need to confront stuff. riz is meaningfully narratively away from baron's unknown land for most of fantasy high.

with that and all of my disclaimers in mind my conclusion here is if canon baron wants to be a Horror Monster they'd have to cross way more lines. be a Lot more invasive. hence (holds up my class swap baron like a long cat)

[lynxfrost13]

Hey do you guys ever think about HOPR’s gestalt and how she was probably a very lonely person for most of her life before volunteering to be a neural template donor

[coquelicoq]

"i already knew that you liked me, but do you know i like you?" she's not actually dead. she's got eyes. and ears. and a brain. i think maybe she figured it out.

[hal-o-ween]

Personally I think a lot of opinions about which Monster Hunter games are "good" and which are "bad" just comes from people failing to recognize that Monster Hunter has two different mainline lineages going at this point, each of which are supposed to emphasize different aspects of the series and create a more distinct experience between them to make it more worth experiencing both. And some people won't like both lines! That's ok! It doesn't mean they're bad, it just means the style of that line isn't for you.

[waitingforsecretsouls]

Much as I theoretically understand why fandom glomped onto the possibility of the tragic Daeron and Addam romance, it genuinely doesn't seem like the closest explanation the text itself offers. One of the biggest implications people see for this is the paragraph wondering about Tessarion's motivations for intervening in the Vermithor vs Seasmoke fight:

Vermithor’s size and weight were too much for Seasmoke to contend with, Lord Blackwood told Grand Maester Munkun many years later, and he would surely have torn the silver-grey dragon to pieces…if Tessarion had not fallen from the sky at that very moment to join the fight. Who can know the heart of a dragon? Was it simple bloodlust that drove the Blue Queen to attack? Did the she-dragon come to help one of the combatants? If so, which? Some will claim that the bond between a dragon and dragonrider runs so deep that the beast shares his master’s loves and hates. But who was the ally here, and who the enemy? Fire & Blood Chapter 17: The Dying of the Dragons — Rhaenyra Overthrown

People tend to focus a lot on the love aspect and basically ignore the alternate possibility offered up, which is hate as a motivating force.

As happy as I am for people enjoying the concept of Daeron/Addam, let's acknowledge that they have neither actual on page interactions nor as much as implied aquaintanceship, and GRRM is the opposite of subtle when it comes to "hinting" at these things for implied same sex entanglements. One line about Addam, who canonically served on his mothers trading cogs, having previously traveled as far as Oldtown, or Daeron enjoying spending his off - time at Oldtown's or prior to his fostering King's Landings harbour or shipyards would have been sufficient, but instead there's absolutely nothing.

Whereas Daeron and Hugh Hammer, dragonseed and rider of Vermithor, do have canonical interactions, both on page involving dialogue and implied by their close proximity, that develops into a plot relevant enmity, culminating in Hugh stating he'll claim Daeron's birthright for himself, as rider of the largest surviving dragon, and Daeron approving the Caltrops assassination of Hugh in turn.

With his brother Aemond slain as well, the greens found themselves kingless and leaderless. Prince Daeron stood next in the line of succession. Lord Peake declared that the boy should be proclaimed as Prince of Dragonstone at once; others, believing Aegon II dead, wished to crown him king. The Two Betrayers felt the need of a king as well…but Daeron Targaryen was not the king they wanted. “We need a strong man to lead us, not a boy,” declared Hard Hugh Hammer. “The throne should be mine.” When Bold Jon Roxton demanded to know by what right he presumed to name himself a king, Lord Hammer answered, “The same right as the Conqueror. A dragon.” And truly, with Vhagar dead at last, the oldest and largest living dragon in all Westeros was Vermithor, once the mount of the Old King, now that of Hard Hugh the bastard. Vermithor was thrice the size of Prince Daeron’s she-dragon Tessarion. No man who glimpsed them together could fail to see that Vermithor was a far more fearsome beast. [...] The lords and knights of Oldtown and the Reach were offended by the arrogance of the Betrayer’s claim, however, and none more so than Prince Daeron Targaryen himself, who grew so wroth that he threw a cup of wine into Hard Hugh’s face. (...) Lord Hammer said, “Little boys should be more mannerly when men are speaking. I think your father did not beat you often enough. Take care I do not make up for his lack.” The Two Betrayers took their leave together, and began to make plans for Hammer’s coronation. When seen the next day, Hard Hugh was wearing a crown of black iron, to the fury of Prince Daeron and his trueborn lords and knights.

[...] Though Prince Daeron was not present at the council, the Caltrops (as the conspirators became known) were loath to proceed without his consent and blessing. Owen Fossoway, Lord of Cider Hall, was dispatched under cover of darkness to wake the prince and bring him to the cellar, that the plotters might inform him of their plans. Nor did the once-gentle prince hesitate when Lord Unwin Peake presented him with warrants for the execution of Hard Hugh Hammer and Ulf White, but eagerly affixed his seal. Fire & Blood Chapter 17: The Dying of the Dragons — Rhaenyra Overthrown

Which seams like a far more (meaning: at all) established backdrop for that musing about sharing loves and hates to me.

Tldr; Less "love wins" and more "haterism transcending death" for Daeron the Daring.

[fluffydice]

On the topic, I think Rise does a wonderful job of displaying the sensory needs of neurodiverse characters because they don't limit them to one extreme or the other; another reason why their portrayal is so wonderful.

Donnie probably shows the most examples of this range, for obvious reasons. He doesn't like unexpected stimuli—and that can be something as small as unexpected touch. He has a preference for his flavorless juice. His lab, from what I've been able to glean, appears to be lit mostly from the glow of his computer screens or his tech. Otherwise it's usually kept rather dark.

On the other hand, Donnie loves noise (as long as he's in control of it, of course). He blasts techno music until it's impossible to talk without shouting. He falls asleep to Shelldon's affirmations: also absolutely blaring.

As for Mikey, this one's a lot more speculative lolol. We see a lot of examples of him seeking out sensory throughout the series, the most memorable for me personally being when the boys are interrogating Warren Stone and he's just. Playing with absolutely everything on the playground, rapidly switching from one thing to the next. But for someone who loves runs around—and very much enjoys doing so—it's a bit surprising to me that he so willingly rides Raph's shell so much. I could see that being his safe space of sorts, for when things get too exciting and Mikey can feel it starting to overwhelm him. Just an area to take a breather.

It's wonderful to see both because it allows the characters to have sensory needs without it becoming a one-dimensional gag. It's no longer a trope, but rather an aspect of their identities. Yeah, Donnie not always reciprocating affection can be made funny. Yeah, Mikey not sitting still can be made funny. But the joke is never the character themselves because they focused on writing a complex, actual person; not the simplified, easily-digestible idea of a disability.

[aces-to-apples]

Frankly I think Alistair being mildly shitty to that mage in Ostagar seems pretty in-character for the guy he is before the massive, life-altering trauma that is the Ostagar massacre wherein he sees all of his Grey Warden comrades, his beloved mentor/father figure, and his beloathed half-brother/convenient-target-of-projection absolutely torn to shreds by literal Thedas boogeymen. IIRC Morrigan and Flemeth both comment on his wack behavior after Ostagar and then by the time we get to Lothering Alistair just fully surrenders any and all responsibility (and, frankly, agency) to the player's Warden for the foreseeable future. It can then take anywhere from a couple IRL hours to the entire second act of the game for him to retake almost any amount of it back. And depending on the player's choices in dialogue, and especially whether or not they choose to romance him, we may only see flashes of that guy we met at Ostagar before he potentially morphs into almost someone else entirely (hardened!King!Alistair). All that to say, I don't actually think it's a useful criticism of "characterization" to bring up Alistair's glibness as compared to his behavior in the majority of the game because from where I'm standing (looking directly at his snottiness about Cailan, his complaints about being assigned to the Tower of Ishal, his Templar-esque focusing on Morrigan and Flemeth being apostates, his generally pretty brusque manner with the Warden recruits) it seems fairly in-line with the rest of his behavior at Ostagar.