#because that was a more satisfying character arc

[corseque]

I honestly just wanted one single plot step that I could not predict given the 10 year wait. More behind the cut, I talk about Emet too, and I'm comparing his writing favorably to Solas' writing and why it worked better for me personally, but I am just talking about the writing skill that went into the games and not the dudes themselves, I love them both dearly of course. idk this is a mess and I am not going to edit it for clarity

For me, the game was a series of me saying

"ok I knew that. cool."

"oh yeah, I knew that. I guess it's good that the larger fandom knows about that now."

"nice, but yeah I already knew that too"

"that was something we've been talking about a lot for years"

"this thing they are acting like is a huge enormous reveal that the characters could not possibly have deduced through simply thinking about it in depth over the 10 years... the fans easily figured out by thinking about it in depth 10 years ago. So you would think his girlfriend would be able to figure it out more easily than we did. Like, why couldn't the game have been like 'oh lavellan already figured that out a while ago' it would have cost them nothing"

"this is something I've been thinking about for years, and now that it's being revealed, the companions' reactions to it are very irritating and jarring and unnecessary and I really dislike the experience I'm having right now, in this, the hour of my greatest triumph"

"this thing that is happening on my screen right now is something that I wrote an essay about 2 years ago describing how it would be a letdown if it happened without the correct setup"

"this way that they're characterizing Solas makes him less likable and less interesting than I have been finding him for all these years, and I have had people tell me 'no, he's simpler than you think' for years but I guess I was wrong, he really is simpler than I thought, so that fucking sucks. I wish I could take that information out of my brain."

"this thing is a retcon of information I have been thinking about for 10 years, and so I don't know how to follow along with this new direction, and I'm not sure if I even want to because it's not particularly interesting anyway"

"aw that was sweet"

"why is it like, so very impossible to have an honest back-and-forth with my favorite character about the dilemma that was most interesting to me about the previous game"

and then, as soon as, like, the other fans had caught up to the Solas lore that was really obvious from the other games, the game was.... over without anything surprising happening, or introducing a new element or plot point or perspective, or a real true twist (or two, or three) for those of us who have thought about it too hard for too long. It was very simple and easy, much, much, much, much easier than I was imagining. It all felt sort of like that Nicholson quote:

The thing was, the whole story was so interesting to think about because in 10 years, I couldn't figure out a good solution to it!!!!! It's why I was never able to write post-game fanfic about it. So I was stoked to find out some reveal we never knew about, some new information, in maybe a SERIES of steps of new information, that made the situation more complicated but also something that could be navigated by everyone involved. I know it was asking for a lot, but they had TEN YEARS, and they seemingly had set up the things they did in DAI on purpose, so surely they had some idea of a complex and satisfying narrative that would reconcile everyone.

The reason why I was expecting this is because FFXIV did a very similar story arc, which was started AND concluded WITHIN those 10 years (so it took the FFXIV team far less time to deliver as well). And the conclusion to the story in FFXIV did what I was expecting Dragon Age to do. So I thought, "holy shit, if this is the FFXIV version of this plot, how much more complicated is DA4 going to be!?!?" The DA devs also PLAYED FFXIV so they were completely aware, several years ago, of a satisfying story ending that was pretty darn similar.

People are probably going to think "oh, well Chelsea was disappointed because she spent too much time building it up in her head" but that's exactly it - I actually speculated and thought about FFXIV's story IN DEPTH NONSTOP for a year+ before its ending came out, and the ending absolutely blew me away. FFXIV Endwalker managed to introduce information and new story elements that I was not able to figure out in the YEAR I spent speculating on the ending of FFXIV's story. It took a complicated situation and revealed several several more facets to it that I was not able to predict, but were very interesting and thematically compelling, and took us all to surprising and climactic places that we could not have predicted.

Endwalker ("end" is in the title on purpose) too, was written to be THE ULTIMATE SATISFYING ENDING for a very long-running story in the exactly way that Veilguard SHOULD HAVE for Dragon Age, so while this complexity is being explored, FFXIV also gave catharsis to many different plot threads that have been built up through the previous expansions, until finally it ends with a bang. The story is desperately good to me, I loved it, it gave me closure for Dragon Age long before Veilguard was even revealed, and going back and looking at its story has made this whole thing far less painful for me.

So, I actually did not have a picture in my mind for how things SHOULD go. I just had the thought "I hope it's complicated and there are points of view or facts that we haven't before been exposed to, and the situation is resolved respectfully for Solas, not making him look like a fucking idiot (lol, the only thing I asked for). I don't even care what happens to Solas and Lavellan, I just need the story to be complicated and interesting to think about. Please, god, don't let it be "solas is wrong and he just needs to be convinced" because that's like the simplest story you could tell with this setup"

(btw they managed to tell Emet-Selch's story without making him seem like he's being an idiot on purpose or can never get anything right, and in fact the more the story goes on, the more you think of him as smart and capable and cool, so it is possible to write.... I wasn't asking for the entire moon)

And I played it and... yeah. Most of the story beats were more simple than I wanted them to be, a lot of them didn't make sense in my heart given the writing from Inquisition. (This is another essay, but if Solas' thematic story arc was always about him needing to let go of regrets, why was his personal quest the way it was? After that quest, doesn't he end up regretting not doing more....? Why did he never really talk about regret during Inquisition? If he was so trapped by regret, why was he able to do so many actions? It doesn't mesh well to me. The whole regret thing was very quarter-baked to me, I don't even like thinking about it.) His story never seemed like one that was as simple as being about one man's regrets, but then, I guess, it was always just about one man's regrets.

Emet-Selch's personal storyline (and the way it interacts with and affects the larger story) is very similar but much more cohesive and satisfying to me. It would be difficult to explain why without the aforementioned 5-hour essay. Emet-Selch's story IS about grief and anguish on a world-shaping scale in a similar way that Solas' was apparently always about letting go of regret, but Emet's story was also very pointedly and beautifully about that one theme for the entirety of his story from every tiny detail, from beginning to end - meanwhile, it seemed to me that they tried to introduce 'regret' as the main thrust of Solas' story only in the short story with the Regret demon onward.

From Inquisition just by itself, the closest I personally could get to a story theme for Solas was his inability to trust others hurting him and the world, but his trusting others in DA4 wasn't really addressed to my satisfaction. He is never required to trust anyone before the ending, he never opens up or makes himself vulnerable at all. People find out information about him, he never really dynamically opens himself. So the personal story I thought he had was never addressed at all, while a new one about regret was introduced that never made a ton of sense to me. And I don't think this is just because of my expectations - my reaction to FFXIV proves that I am able to meet good writing where it goes in surprising directions, as long as it's interesting and thoughtful and clear.

And I think this might be part of what people felt was off about the ending - Solas is sort of uninvolved in the revelations that are about him, and doesn't do much to be part of his own ending. Part of what I loved about Solas in Inquisition is that he is not controlled by you in any way, and so he feels like his own person with a very strong sense of character.

Anyway, Emet-Selch, in a very comparable and arguably more extreme plot position, is very involved in the revelations about himself, he always feels like a very strong character who cannot be affected by the player, and the whole situation is handled with deft emotion and care and delicacy. The story is comparatively very uninterested in litigating Emet-Selch or putting him on trial - the story allows you to simply feel the way that you feel in an organic way, and Emet's story spends that energy instead actually exploring his thematic material about grief and legacy, and the larger story theme of existentialism instead, in a way that is very refreshing and interesting. I've seen a lot of western stories tie themselves in knots over "redemption" and frankly it's almost never been interesting at all. Who cares about any of that. lol

(Now, I guess this is a matter of preference, because some people really like being able to shape a character's story, but idk I rewatched the ending of FFXIV and even though there wasn't a choice with Emet, because it isn't a branching story, his story felt more satisfying to me, maybe because there isn't a patronizing choice to be made for him. He is who he is, and he fulfills a very beautiful narrative role and purpose that no other character could in the story.)

I don't know how this could have been improved to me and still allowed players to choose Solas' ending for him, but I can actually think of a few different methods, none of which involve Rook condescendingly and patronizingly lecturing Solas as if Solas had never thought about a single aspect of this horrible situation he's in before that very moment that Rook lectures him lmfao.

All this to say... idk I'm writing this and I am not going back to edit it so it's stream-of-consciousness. But yeah

I just wanted the story to be complicated on a few more levels than I could have predicted. I genuinely don't care what happened, but I thought of a few twists like the Veil coming down and yeah, I was expecting A Single Twist or reveal to happen. In a Dragon Age game.

I wanted Solas to seem cool and capable and noble and smart, and actually feel like he was as old and experienced as he is.

I wanted a clear theme I could sink my teeth into

Like notice I didn't even say anything about Solavellan. Like I never in 100 years thought they were getting a happy ending where they were both alive in bodies, and I like that we got that, but I would honestly trade it for a more complicated story. To me, if a story is sad you can always write fanfic, but if a story isn't COMPLICATED, that's a much more urgent issue.

These 3 things DA4 didn't give me in a way that satisfied me but FFXIV did. anyway idk the way my hyperfixations work, I completely switch to a new subject so talking about Dragon Age is actually hard for me right now.

[utilitycaster]

Finally seeing Bells Hells/c3 biggest fans and supporters after 3 years saying, "Some of you are so afraid to criticise CR that you end making other people feel like shit for voicing their valid criticism. We are allowed to complain about media that we’ve invested so much time on and paying for 😐". Its ironic because JUST last week everything was perfect. Or c3 is perfect but all the other parties, breaks etc. Im like that IS c3. The Villian is fr MN and the party is tied to VM. C3 is all party

going to give the mean and sarcastic answer (not to you, to the people you're talking about) and then the thoughtful one because I think both are important to voice here

mean sarcastic answer is "actually Matt was homeless once so I can't believe you're resorting to leftist infighting and criticizing him like that? You can't criticize anything involving Bells Hells because all of the characters are queer and also Beau is a brown lesbian so it's really racist of you to be upset that she showed up in the charity one-shot and most of the Mighty Nein and Vox Machina have trauma so it's actually really problematic of you to be mad that they're showing up in the wrap-up? smh C3 fans are just mad this isn't The Bells Hells Search For Their Neighbor's Missing Cat In The Alps show."

The serious answer really is that like, yeah, this campaign has been The Moon Plot And Past Parties campaign the entire time. I'm not going to link my entire blog here but my archive is extensive and if you were to cross-reference my opinions over the course of the campaign you could see that I (and my many other allegedly evil Campaign 2 stan pals with which this fandom is crawling, as if we are apparently the invasive species here and not the bears in whose neighborhoods you built a cul de sac and tried to shoo out) started out with high hopes for a third campaign on the heels of two excellent prior ones. Our disappointment is that at every turn we had to lower our bar; forgive me if, after a campaign in which every time anyone else said "wow, fucked up that they yanked away the football, that's disappointing" you harassed and mocked us, no one has any sympathy when the campaign ends at, frankly, a not unsurprising place for it to end. It's openly been called the Avengers Assemble campaign by the cast. Like, actually, almost everyone else had the opinion of "I wish this campaign focused primarily on Bells Hells"/"I wish this campaign were more rooted in Marquet" from, frankly, the second that Vox Machina appeared if not earlier, and that's when a lot of the people currently melting down started watching. I have been here so long that the people sending me anon hate have had full turnover. And yeah, just last week everything was all going to turn out okay, and it's like while it's fair to have had more hope for the campaign around episode 50, if you're in the endgame and nothing's clicking, I think it's okay to say "well, I'll see this through to the end but here are the many failures of this campaign over all".

I think it's extremely valid if, when the people lobbied every insult and accusation they could think of at you when you criticized the campaign or any of its characters before 9:00 AM Pacific Time on Thursday, January 30th, 2025, suddenly find themselves realizing that yeah, this campaign has a track record of jumping around to other parties when Bells Hells should probably have been in focus, and that the character arcs were mostly cut short in favor of the singular moon plot and it's virtually impossible to end in a way that is entirely satisfying, though the world state will probably be intriguing and the characters will probably get some blandly happy endings in between cuts to Vox Machina and the Mighty Nein; one's reaction isn't "oh, you poor thing" but rather "We told you so." The party may have fucked around and never really found out. I will have to take my satisfaction that (as multiple mutuals who have seen this all unfold pointed out) the people who have used their fandom of this campaign to throw rocks at anyone they didn't like and feel morally righteous in doing so are reaping what they sowed. I have no control over the outcome of the end of this campaign but I can certainly control whether I have any sympathy for those who are reeling from a revelation most of us figured out months ago, and they've been so consistently awful to everyone else at every turn that I cannot say I do.

I think it's valid to criticize Critical Role. I've been doing so all campaign. I was against toxic positivity in the fandom during Campaign 2, and while I'm not entirely proud of everything I've done and said this campaign, at least I feel secure in never demanding anything from others I did not practice myself. If the fandom is better during a hypothetical Campaign 4 I think it will be in part because hopefully a C4 party won't be as much of an attraction for that kind of dish-it-out-and-never-take-it loser Bells Hells appealed to; and because hopefully those same losers will have either left, or learned a bitter lesson for whom they have only themselves to blame.

[alea-jottun]

Absolutely. I do not understand why people nowadays are satisfied with books/shows/movies/etc. that are getting more and more terribly written (and are even ready to defend them). I miss when being a showrunner/writer was an actual job that had to be taken seriously. When did following basic writing rules become optional ?

I blame two things for this shift btw :

the rise of the "subverting the viewer's expectation" trope / the plot twists (oh how I hate this one) : nowadays most character arcs feel awful and unsatisfying because the writers make a point to NOT bring the characters where they're supposed to end... forgetting that, 9 times out of 10, it's good that we can guess how the characters will end up. It means the story was coherent. The bread and butter of the story is how a character ends up as he's supposed to, not where he ends up.

writers trying to put their mark on a story that is not theirs... when, if your write a second season/a follow up/etc. you should do your best to make the writer transition feel seamless. I should not watch a series and feel the writer's presence (through fanservice of his favourite character though it's not preventing him from misinterpreting said character, through characters that are clearly OCs/mouthpieces for the writer, through complete tonal shifts, etc.)

Anyway, writing is actually extremely hard and people forgot this. Nowadays mainstream series are either written by scenarists who do not care, or by people who actually tried to write a good story but were stopped by crappy executive decisions.

It’s “you’re upset you didn’t get what you wanted from the show” “that’s just your headcanons” when all I said was they should have proper character arcs, consistent characterization and motivation, coherent development, follow through on themes and conflicts, you know, the expectations of storytelling across the board…

You keep saying we shouldn’t say “should”

Yes a story “should” follow through on its own set ups for conflict and theme

A story “should” give its main characters screen time and a proper arc

A story “should” have consistent characterization

A story “should” respect character’s struggles

A story “should” have important conversations happening on screen

Those are very general. Please tell me when this became an unreasonable or unfair expectation

[gameguy20100]

Say what you like about Veilguard. At least Davrin got an even amount of focus and importance in the plot. More than you can say for Wyll.

And I think this is a valid comparison because they're so similar. Both the "Knight in shining armour" archetype, both monster hunters, both of them approve of "good" acts and disaprove of "evil" ones.

Oh, and they're both the only black companions in their respective games.

Except Davrin gets his own questline, a satisfying character arc, and fully developed romance.

Whereas Wyll gets, a half arsed questline that's more about the Emperor than him, is the only companion without a sex scene. (Seriously, Mizora gets one but not him?! The fuck?!) And Larian has on several occasions ignored him in favour of more Astarion content.

So, thanks Bioware. Thanks for NOT giving the black man the short end of the stick. Here's your mediocre trophy. It's sad how you're still noteworthy for this. 🏆

[emilylawsons]

HI I’M BACK AND I FINISHED SEASON 3 AND I HAVE THOUGHTS™️

Newsreader spoilers under the cut

Okay first: THE NEWSREADER IS ONE OF THE GREATEST TREASURES TO GRACE TELEVISION AND IT DELIVERED ON EVERYTHING

ANYWAY…

The open ending as far as Helen and Dale goes—my shipper heart is a little sad we didn’t get a more explicitly romantic ending for them BUT these two have so much healing to do, and it starts with being exactly where they are. Finding peace and happiness as individuals before they give themselves to any relationship. And I think, no matter what any fan was hoping for, they can take this ending and decide how it goes for them. (Also the loving way Helen spoke to him and looked at him while she was talking to him off air. 🥹) They’re both exactly where they need to be and in their element, and that’s what the audience has been rooting for since day one.

THE PARALLELS AND CONNECTIONS TO THE FIRST EPISODE IN THE LAST ONE. Dale singing Kyrie in the car. Helen taking Dale home and talking care of him and “coming up with a plan.” Fucking brilliant.

Helen’s journey this whole season—getting a diagnosis and coming to grips with it. Being resistant at first but coming around and COMMITTING to getting better even when it’s hard and she hates it—frickin’ facing the place where she was locked up and endured additional trauma. She truly came into her own, and I’m just continuously blown away by Anna Torv and how, in every single project she does, she puts so much care and thoughtfulness into how she portrays her characters and the difficult situations they face. And she’s just a fucking incredible actress. THE SCENE IN 3.03 AFTER SHE GOT HER DIAGNOSIS AND CALLED DALE BROKE ME. I don’t think anyone else could have portrayed Helen. I just don’t. And Helen’s arc was all the more satisfying because the writers/creators decided to trust their talent and make her just as much a part of the creative process.

And Dale…oh my boy Dale. Sam frickin’ Reid the actor you are. Dale’s character arc has to be one of the most intense and challenging I’ve ever seen on TV, and Sam probably had the hardest job. Dale’s breakdown? OH MY GOD. We always knew Dale needed to break. He would have to be driven to the brink to be human again. And, just like with Anna as Helen, there was no one more qualified to bring Dale Jennings to life. Holy shit. Incredible, meaty, deep storytelling happens when you have creatives with a vision and actors they’re on the same page with. Sam got it from day one, and he saw it through to the end.

But Helen and Dale, stars of the show they are, are not the only incredible arcs we got to see. THE SATISFACTION OF WATCHING LINDSAY CUNNINGHAM GET KICKED OUT ON HIS ASS AND DENNIS SITTING IN HIS SEAT. The stuff of legends. And not just Dennis getting his moment (which we absolutely saw coming after he clocked Lindsay last season), but JEAN FUCKING PASCOE yelling at him from across the newsroom. I clapped. I cheered. And you know, I even cheered a bit for Evelyn Walters in all of it. She’s out for herself and still doesn’t get it (and Geoff was far from a victim), but she stood when it counted. She took action on one good thing. And watching them all collectively work together to get Lindsay what he deserved? Delicious.

And then we’ve got my girl Noelene who also went through The Most™️ oh… She’s got so much to figure out about standing up for herself and what she wants, and Rob’s got so much growing to do to be a better husband and father. But she did stand up for herself. She stopped being afraid to tell people how she felt and what she needed. She called Rob out on his racist tendencies and opened up to him about her work/motherhood balance, and she called out Helen for using her like everyone else and overworking her, and they both listened. She has hope ahead of her, and it was beautiful to see.

A few other small notes:

The whole Dale/Kay dynamic was so strange, but it needed to happen. Her constant comparisons of him and Geoff helped fuel his necessary fall. And it served to show what a terrible place Dale was in.

Cheryl got married!!! Good for her 🩷

Fuck Bill, and congrats to Helen for being like “I’m not gonna be punished because I didn’t wanna fuck you”

Tim gets a well deserved love and happy ending!!!

I’m really happy they brought back Linus. What a treasure.

Overall, as sad as I am to see this show go, they delivered on all counts. Everything they said they would be, they were. Every arc, satisfying. Just so beautifully and masterfully done, and with love by everyone involved. 18 episodes of perfection. And if Michael Lucas and Emma Freeman ever produce another show together and hire Anna Torv and/or Sam Reid or any of the wonderful-across-the-board cast? I will get my VPN’s worth as an American and be there for it.

[the-one-that-weeps]

I find it a little poetic that, usually, plays have 5 acts, but isat has 6. And the sixth one is responsible for breaking the cycle. Like telling the viewer that "hey, it's not over. Your life isn't theatre. So go out and live."

[diskusaurus]

My biggest issue in Epic the Musical is Odysseus, actually. In this essay, I will....

[lemurballing]

the problem with tangle is she was written as an s tier character out of the gate, so you can’t really give her a character arc. she’s at the peak. you have to make her worse in order to make her better

[angeldaisies]

i hate the bracelet storyline just because it makes me really sad for all parties involved but my god does it scratch all the characterisation itches in my brain. there’s nothing i enjoy more than thinking about what might happen post bracelet with james’s characterisation especially.

[deus-and-the-machina]

ffxiv garlemald discourse is so funny because people will go "ugh people just cant stand it when things aren't black and white" and then you look at how the empire are portrayed in stormblood and shadowbringers and its like hm. that seems like a pretty intense and accurate display of violent imperialism to me! Wow I wonder why people in this day and age may find it hard to feel sympathy for them or even hate them on principal. god its such a mystery.

the games like 50/50 to me on how it tackles these themes because I actually like the garlemald arc in EW, I think it has a lot of horrific and powerful scenes depicting how self destructive fascist propaganda and beliefs are, but I also think it doesn't go far enough on some fronts. the garleans' xenophobia is most notably and obstacle to getting them to accept the contingent's help, which is what they're there to do,

but there's never an admission of harm from any garleans on the uuuuuuuuh massive amount of war crimes the nations around them are still suffering from they're just kind of like "we misjudged you...but you actually wanted to help us all along" like yeah thats great now can we get you all some deprogramming because you keep talking about returning to your prime and glory days and I think we need to unpack some stuff you really SHOULDNT return to. im not even really talking about EW proper but the patches where things are a bit more chilled out and people are recovering.

It feels like they wanted to have their critique of imperialism and also have things end with the beauty of human connection and reaching out and these things just don't mesh well because hey a lot of your modern day audience is not gonna like having to treat people yelling xenophobic things at the cast and your character with kid gloves after you showed them hours and hours of the awful things these people's beliefs have done. especially in the present day hoo boy.

[fictionadventurer]

An underrated benefit of love triangles is that they allow you to have a love story where the ending isn't immediately obvious. In your standard romance, the two leads meet, and then it's just a matter of time until they hit the plot beats that lead to the happily ever after. But the love triangle gives you two plotlines! Two different dynamics! Two valid directions for the plot to veer that will still lead to a romantic happy ending without that ending being a foregone conclusion.

The main character can grow and change in multiple different ways because there are two men on equal standing with her, who can have an influence on her in different ways, giving her multiple different lenses to help her understand who she is and who she really wants to be. When it's done right, the story will be satisfying no matter what the endgame is, because the point is going along on the journey and seeing who the characters become. And the great thing is that you don't know who they'll become because there are two valid options, so the entire story can be surprising, which is so refreshing when so many love stories are so predictable.

[musubiki]

lime has such a special place in my heart. like hes such a prominent character in the story and even though he was one of the first ones made i still have a hard time finding something to do with his arc that is satisfying to me and brings justice to him as a character,.,

[utilitycaster]

i don't watch critical role, so I have no skin this is "is this campaign good or bad" debate, but I just read a post from you saying THEY DIDNT DO A SESSION 0? Why? What possessed them? That's like one of the most important parts! Especially if you broadcast your play to millions of people. Hell, if I was them I would do off-camera check-in sessions every 10 episodes or so to make sure everyone is still pulling in the same direction. That's not railroading! That's making sure that you and the train conductor are using the same map. From your posts I gather they are all still in the same world as the previous campaigns and I know they've all known each other for a long time, so I guess that could be the argument for no session 0. It's a bad argument.

So here's the situation:

Campaign 1: No session zero; grew organically from a one-shot.

Campaign 2: No group session zero. They call the smaller screen-test esque one-shots session zeroes but they aren't, and I know they do regular session zeroes for Candela Obscura and for various Daggerheart works where everyone proposes a character archetype and pitches that, because they film them and air them. However, based on various interviews (there are a lot with D&D Beyond that might not be easy to still find) and cast statements it sounds like Matt was a lot more accurate regarding the nature of the campaign (more morally gray) and offered a lot of suggestions about the characters and had a lot of requirements including, notably, that they all needed to be from the continent on which the campaign was set. Perhaps most crucially, the cast was highly cognizant that they had to land this plane to prove it wasn't just Vox Machina, but their storytelling skills; had C2 not been as strong as it was I don't know if the company would have survived long.

Campaign 3: No group session zero, guidance was "pulpier and deadlier", some back and forth between cast members. I do also think there was less room for the world to be malleable to accommodate their concepts, as it was more developed, and the plot was certainly too rigidly set.

As for check-ins: they are all friends and I think the thing about C3 is that I suspect the flaws are MUCH harder to see from the inside, and also I think the "we're friends playing a game for us" attitude, while valid, means that I do wonder if no one wanted to say "is this like, good as a work of fiction" because I do assume, at least, that no one felt bored or uncomfortable. I know even a lot of us who have been highly critical of the campaign throughout looked to like, episodes as late as the 90s and early 100s as maybe, finally, a clear direction and then at every turn there continued to be some new poorly signaled thing and character beat cast aside, and I really do think it was not even entirely a failure of ambition (though it was that too) but essentially a fanservice loveletter for each other and the world. And that's again entirely fair in a game for your friends, but not a great way to end a trilogy in a way that is narratively satisfying. I think I mentioned it before, but this campaign should have been structured more like Campaign 1 - provide plenty of bonding time and slow travel early on, introduce the hint of the final threat early in a highly character focused arc (Vecna in the Briarwoods arc); follow either an overarching plot with a lot of opportunities for each individual to explore their own past and shine (the Chroma conclave having highly personal moments for pretty much everyone other than Scanlan and Percy, and the deadly nature of it and the Kaylie reveal right before giving Scanlan plenty to work with; alternately, a more character-driven C2 plot could have worked as well with a few guardrails) and then a return to the ultimate threat in the end (Vecna).

My hope is that the flaws of this campaign do become apparent to the cast, and that if they continue with longform works they learn from it. But yeah, this was really avoidable and while I suspect the cast will not throw each other under the bus I'm genuinely interested in an eventual post-mortem after enough time has passed.

[unspuncreature]

i miss reva……….. o|–<

[my-current-obsession]

Dunno if it's a hot take, but I think the "platonic" path for Chihiro (as in making the "wrong" choices early on so she doesn't even confess, not just rejecting her when she does) was actually WAY better than her romantic rank 9.

Instead of getting insanely jealous of the thought of Mitsuru and MC spending time together (for the sake of HELPING HER), she's actually totally fine with that and begins to leave before stopping because she's upset AT HERSELF for continuing to rely on others. Her motivation to confront the teacher is entirely about taking action herself rather than it being centered on a desperate attempt to fix things quickly to keep the guy she likes away from another girl.

The way she celebrates with MC on the rooftop afterwards is really cute too. She acknowledges her growth in being able to confront an adult male by herself while also recognizing she still has a ways to go and this is kind of just the beginning. It's just really good character development and very wholesome, how her FRIENDSHIP with MC helped her become more confident and capable. Meanwhile her romance has that character "development" tied entirely to her being very jealous/possessive. She was only able to confront the teacher because she was terrified to let MC be alone with Mitsuru. That's not really growth, and it's certainly not a healthy foundation for romance.

[the-way-astray]

it should be a crime for writers/creators to not make a crazy wall for their story that connects pictures representing the characters and plot points together with an obscene amount of yarn.