#but I ended up drawing more parallels than I thought I would

[agent-yolk-writes]

A Nightmare in Devildom (Obey Me/Nightmare on Elm Street concept fic)

Basically what it says on the tin. A "what if MC was a survivor of freddy kreuger's torment before the events of OM" concept fic.

This is was of those weird ideas I came with this during the early covid lockdown period where my insomnia got really bad to the point where I was borderline delirious. I meant to get this out during October for spooky season vibes but after three Octobers came and went and Obey Me isn't getting any more updates, I figure I throw it into the pit before that happens. No beta we die like obey me as a franchise, I guess!

If this inspires you to write something similar, please let me know! If you want me to write more...please reconsider!

And, of course, happy holidays!

AO3 Mirror Link

Good lord, I look terrible. You thought as you looked at yourself in the mirror. When was the last time I got some rest?

Other than looking more visibly tired, you look...older. It was the face of a nurse finally coming home after back-to-back double shifts. The bags under your eyes could only get so dark, but thankfully you knew a demon who had so much concealer and foundation lying around that he wouldn’t know if a few went missing. 

You knew you shouldn’t be continuing this habit, but you can’t help it. Despite living in a mansion with the most powerful demons in Literal Hell(!!) in the past few weeks your brain is still not convinced that you’re safe from Him . Would he still have the balls to terrorize you still? Does he even know where you are? Surely he’ll just know when you disappeared without a trace, but you can’t afford to find out for yourself. 

As much as you wanted to tell the brothers, you didn’t want to drag them into this mess. After all, this problem only started just weeks before you were brought here. It came without warning, and suddenly it turned into a bloodied hurricane. To think He was the one that killed your friends and classmates back in the human world…you regretted not being able to do more for them until you were in His sights.

This opportunity with the exchange program was either a saving grace or a divine intervention, and you’re not going to let that chance slip away from you. You have the whole year to work on magic and potions and anything else that could possibly drive Him away if not kill him for good, and you highly doubt he’s going to forget about you. Knowing how to do magic is one thing, but putting it to memory is another. This wouldn’t be a problem if you weren’t so damn tired. You’re trying so hard to pay attention in class, but you just end up more focused on trying to keep your eyes open lest you allow Him to strike at your most vulnerable. 

However, there is one possible solution. The only problem is that you needed to form a pact with his other brothers before he could even consider helping you, that slothful bastard. Belphegor knows how tired you are and how you would do anything for a safe and peaceful rest. There was no point hiding it from him as you were with the others. Oh, how you envied the way he could sleep the day away in his little prison cell…you could just punch him if only you had the strength.

…

You really didn’t feel good about the multi-layered lie you found yourself webbed into to get the pacts in the first place. You recently got Beelzebub’s pact, putting you at the halfway mark. He looked so happy about your ‘plan’ to impress Lucifer enough to have him make up with Belphegor that it made your stomach churn in shame. Is it really okay for you to do this? Wouldn’t it be easier to tell the truth? Out of all the brothers, you couldn’t help but feel guilty for lying to Beel.

But what if Lucifer points his finger at Belphegor if you bring it up before you’re able to finish explaining? Would it destroy all the progress you made? Would you make things worse ? If they draw parallels that your deprivation is somehow related to the seventh-born’s sleep-related powers…only Lucifer would have an answer different from the other five. That’s why you have to keep up this facade for as long as you can. That’s why you need to stay awake. To find a way to protect yourself as well as the others. 

Your new friends at Purgatory Hall, bless their hearts, were none the wiser. Considering two of them were actual angels, you would’ve expected at least Luke to confront you with tears in his eyes about your health at least a month in. He makes a big talk about how you should never trust ‘those demons’ before having lunch with Beelzebub. Sometimes you think Solomon is giving you weird looks whenever you make eye contact with him. It’s probably the sleep-deprived paranoia, but you hope it’s nothing. You’ve been getting away with it for this long, so what? 

Tomorrow you have to stay over at Diavolo’s castle as part of an exchange party sleepaway camp or something. If you’re lucky, you can have a room for yourself. You don’t pack your go-to methods for staying awake until right before everyone heads out.

~

The steaming heat of the boiler room did not warm the chill in your bones one bit. 

You should know the inner workings of this hellscape by now. It was His favorite hunting ground, after all. However, something seems different this time. Everything felt…a bit shifted to the right, in a way. On top of that, there’s no sight or sound of Him anywhere. No taunting catchphrases, no spooky teleports he’s fond of doing, not even the shilling sound of his claw on metal when he’s close. This is probably his new trick, you think. Lulling you into a false sense of security before-

You turned around, involuntary flinching as you braced yourself to be hit. Only to process seconds later that nothing’s coming. In fact, there was no sign of life behind you in the first place. Damn it, he really was playing with you at this point. As soon as you let out a sigh of relief, you heard someone screaming from the other side of the room. You couldn’t tell who they were, but that’s not going to stop you. You ran towards the sound before you let the dread wash over you. 

“I’m coming!” You yelled at them. “Wake up! He can’t hurt you if you’re awake!” You were so focused on tilting your head up to project your voice to the other person that you didn’t realize you hit a dead end until you ran into a wall of pipes. “Oh, god damn it!” You cursed, pivoting on your foot to turn around and run even faster. 

What happened next happened too fast. You didn’t know where you were going. Everything is starting to blur together. A pipe managed to burst the same second you turned your head to follow the noise, immediately blinding your vision with steam and a “Shit!” jumping out of your mouth. The suddenness of it all made you lose your momentum and you feel yourself stumbling forward. You didn’t have time to brace yourself for the sharp object that’s going right through your- 

You wake with an audible gasp, hands going up to your throat. The sound of your racing heart and your uneven breathing replace the sounds of pipes and steam. You looked around in the darkness and could barely see two bodies sleeping in their respective beds. Ah, that’s right. This is the first night of Diavolo’s retreat, and you find yourself paired to a room with Asmodeus and Simeon. In an attempt to pretend you’re asleep ended up having you fall asleep for real. You couldn’t help but think how pathetic you were for letting your guard down for one second and falling into His hands again after so long all because you were waiting for someone to finish their 20-step overnight skin routine.

With a shuddered sigh, you carefully slipped out of your bed and into the hallway in hopes you could clear your thoughts without disturbing your roommates. 

Thanks to the occasional jittering of a Little D doing their nightly duties, the halls of a demon lord’s castle don’t feel as haunted as you would think. The lights were dimmed but not out completely, which gave way for the moon to shine in as its own source of light. Had you been carrying a candle in a brass holder you would’ve thought you stumbled into one of those old gothic novels. You didn’t have a real destination in mind, but you made sure you remembered which room you were assigned to just in case. 

At some point during the night, you ended up in one of the lounge rooms, curled up on a couch facing the huge floor-to-ceiling windows, and looked up at all the stars. It has always been a comfort for you. You even began reading about them in an attempt to stay awake back in the human world. You thought you could recognize some of the constellations, but there are always a few stars here and there that turn it into an unrecognizable shape. At least you have new material to read about when you’re back in your room at the House of Lamentation. 

The soft calling of your name from the door broke your serene silence followed by a, “Is that you?”

A small gasp managed to escape your throat before you were able to put your hands over your mouth. You curled into yourself at first so whoever it was can’t see your head poking out from the back. After a few seconds, it finally clicked as to who it was.

Sheepishly, you stick your head out. “Hi, Barbatos.” You said, voice croaking in unexpected use. Even though it was dark and his figure obscured, you could make out that he was holding some kind of tray. “Am I not supposed to be here? I’m sorry. I’ll go back and…”

“It’s fine.” He assured you. “I heard someone walking around, so I’ve taken the liberty to brew some chamomile tea for them should they feel restless. Would you like some?”

“...”

Tea does sound nice, but the fact that it was chamomile made you hesitate. At the same time, Barbatos just made it, so it would be rude to let it go to waste.

“...That would be nice. Thank you.”

He made his way over to the other side of the couch. Part of you wanted to sit up and be proper when drinking, but even thinking about adjusting your posture makes you tired. Still, you make an effort to reach over to take the tea cup from the butler’s hands. Barbatos took this opportunity to start talking. 

“This is your first time spending the night at a castle, I presume?” You made an affirmative noise as you sipped, not wanting to point out that it’s not just any castle you’re sleeping at. “I reckon slipping in a new bed right as you got settled in would put anyone’s nerves on edge.”

You put your cup down as you replied, “I guess you can say that.” 

He looks at you quizzically. “Is something amiss? I’ll inform the Young Master right away.”

“It’s…It’s fine, Barbatos. Thanks for worrying.” You took another sip before letting out a sigh. “I’ve always had trouble sleeping, you can say. I get…these really bad nightmares that make me stay up for days on end. They were so terrifying and real…I kept wondering if I was losing my mind. I’ve tried every remedy in the book to stop them but…” You stopped to let a yawn out. “Sorry…As I was saying, I tried everything the doctors thought could help me. They even brought in a priest thinking it was ‘dream demons’ or something.” You paused, replaying the last thing you said. “Are dream demons even a thing here?”

“They are a form of lesser demons, yes.” The butler answered. “They’re relatively harmless as individual beings, but can pose a threat in large numbers or if they get close to a human.”

“Well, that’s reassuring.” You told him bitterly. 

“If it brings you any comfort, just know that they’re not powerful enough to be able to enter the human world on their own. Only certain powerful demons have the authority to travel to that realm directly. Such as the Young Master and Lucifer, for example.”

You couldn’t help but huff out air through your nose in relief. Suck on that, Pastor John. 

“...So yeah. Just before I was summoned here, they put me on a clinical trial for a medication that…reduces? Suppress? It, like, stops giving me dreams entirely, and they work. Forgot the name though. And I coincidentally ran out just before I was transferred here so…yeah.” Your eyes looked over to the butler. “Sorry I didn’t mention it earlier, I guess. I keep getting roped into whatever the brothers get themselves into that I never really had time to check on myself.”

Barbatos didn’t respond immediately. You were too busy concentrating on balancing the tea on your stomach to spare a glance over to your nighttime companion to see what kind of face he was making. Would he make one? Shouldn’t he have known of this malady when your file was being processed? Maybe, because of their biology, demons don’t worry about these kinds of conditions. You mulled around internally in a tired haze before realizing that your eyes were slowly creeping shut. With a soft sigh, you moved the plate to the nearest table and stood up slowly.

“Anyways, thanks for the tea. Compliments to the chef.” You couldn’t help but let out a big stretch followed by an even bigger yawn. “I’ll head back to bed now. No guarantee I’ll sleep though.” You let out a huff that was supposed to be your attempt at a dry laugh. “You should get some rest too. Big day ahead, y’know? See you in the morning.” And with that, you exited the room and into the dim hallway.

The small smile Barbatos had dropped as soon as your back was turned to him. It was no secret that your time as a transfer student was being hindered by your lack of sleep. Even your recent medical file was perplexing in figuring out the cause of this disorder. It’s not genetic nor was it caused by a major traumatic event. Perhaps it’s something else? You did mention dream demons, after all, albeit it was more of a speculative idea that was brought up by your doctors in order to get a man of the cloth involved. It definitely couldn’t be Belphegor’s meddling, he thinks. He wouldn’t know about the human’s arrival.

It looks like he’ll have to do some digging after this exchange party concludes. He might need to start gathering evidence now while the human is still here. Diavolo will need to get involved, there’s no doubt about that. He would do anything to ensure the health and safety of the exchange students, after all. 

~

When everyone converged for a tour around the castle, some had noted that you looked less sluggish than usual. You simply waved them off, making up an excuse about the mattress not being up to human standards. Hopefully, you didn’t offend the demon prince when you said that. 

Still, you can’t deny that you feel a little well-rested. You did remember trying a method where you close your eyes for 15 minutes, wake up for another 15, close your eyes again, rinse and repeat. You usually had an alarm for this technique, but you didn’t want to disturb Simeon or Asmodeus as much as you already did slipping in and out of bed. You didn’t think you were able to keep track, but you did somehow, give or take a few minutes. Now you can actually pay attention to that cute little demon acting as the tour guide, explaining the intricate history of all the subjects painted on these beautifully crafted portraits. You couldn’t help but smile seeing Diavolo puffing his chest in pride when the Little D started talking about his father, the current Demon King. 

(But when it was mentioned that he's been sleeping at the bottom of Devildom for millennia you couldn't help but feel jealous. The most powerful being of all the realms is casually sleeping the decades away while you don’t even get the privilege of an hour of uninterrupted rest.)

You looked at the other paintings decorating the hall. Some plaques are written in what you can only presume is some kind of archaic language that only demons would know. If you could understand at least a part of it, then maybe you can get a deeper understanding of these pictures. 

A gentle call of your name and a not-so-gentle clap on your back broke your weak concentration. You tore your eyes away to meet Diavolo’s gentle gaze. “I see that her beauty managed to draw you in?” 

You blinked, trying to process what he said. “I-I’m sorry, whose beauty? I was…too focused on figuring out what the plaque said.” You managed to blurt out, causing the prince to chuckle.

“Oh, that? It simply reads ‘The Queen of Devildom’. In other words, that’s my mother.” His gaze turned to the painting, but you stayed fixated on him. He continued by adding, “This painting and some vague memories are all I have of her. She passed away several centuries ago when I was still an infant. My father would always talk about how…” And he continued to drone on from there. It wasn’t his fault, and you were genuinely trying to cling on to every word he’s saying because it’s important to him and you wanted to leave a good impression. On the other hand, the bleariness in your eyes started to cloud your vision again as a result of your lack of sleep. So you avert your gaze back to the painting unintentionally so you can wipe it away, biting your tongue to restrain the yawn that comes with it. Part of you hopes that Diavolo thinks that you’re speechless and moved to tears.

That thought quickly vanished when you opened your eyes to the painting. 

There was a choking noise, and you almost didn’t realize it came from you. It felt like the world around you completely disappeared, and only you and Him were the only inhabitants. 

Devildom seemed to freeze over the moment you made direct eye contact with the painted eyes of your tormentor. His scarred face did nothing to hide that cocky smirk he loves to wear. He’s holding up his bloodied claw to you in a way that couldn’t be anything else but a taunting gesture, as if he knows what he’s doing to you. His other hand wrapped around the back of a bloodied woman. By the way, the painting is framed, you assumed she was supposed to be sitting. Unfortunately, you know that’s not the case here. Her head dipped back, obscuring her face from you. You assumed she was originally wearing either a white or a similar light-colored dress, but that didn’t matter as it was dyed by the blood seeping out of that four-lined wound in her chest that you knew all too well. Just the sight alone made you reach for your hip where an old wound dimly throbs at the clothed contact. 

You didn’t dare move your gaze. You needed to keep an eye on him. 

“Hey…!”

You knew it. This opportunity to fly off his radar and find a way to kill him for good while he’s not looking was too good to be true.

“...!”

How did he even get here? Did he follow you down when you got summoned? What will he-

“...!!”

Time seemed to resume the second someone grabbed onto your shoulders and turned you around. You wanted-no, needed to keep an eye on him. Sadly, you don’t have eyes on the back of your head. Instead, you were forced to look at Diavolo's worried eyes. You didn’t even let him get a word in before you began panicking. 

“What have you done?!” You yelled. You pointed to the painting behind you. “Can’t you see I’m trying to protect you!”

“Protect us from…who?”

“Him!” You pointed to the portrait.

Only the painted eyes of a woman stare back at you.

It was too late for you now. The moment you allow yourself even to think you’re away from his control, you end right back into his hands. 

Nowhere is safe, not even in hell.

A maniacal laugh fills your ears as everyone crowds around your panicked state.

[omwtoblowupmtsthelens]

I take your “Jason and Annabeth should’ve been rivals” and “Jason should’ve been jealous of Percy and Thalia’s relationship” and merge them into “Jason should’ve been jealous of Annabeth’s relationship with Thalia”.

Jason and Annabeth are SO similar. Rick could’ve given us so much and fed it into Jason’s Feeling Replaced arc.

Imagine Jason, the Roman, the Outsider, watching as Thalia ruffles the blonde hair of a kid a couple years younger than her with the same fondness reserved only for a sibling.

Jason sees Annabeth and sees a kid with blonde hair and startling eyes, a kid that could take you out in one move, a kid who wants to build something to last. To be remembered by. A kid who had always ever wanted to be seen, to be loved, to be wanted.

Jason and Annabeth both built their legacies, in the end. It wasn’t just their temples to the gods or the entirety of Olympus but their families. After years of being alone, each of them had built a family like the foundation for which they built their temples. Buildings will fall, and be rebuilt over and over. They will wear and tear and crack and crumble and fade. But family lasts forever. They will be remembered.

[chanafehs]

My Veilguard review:

Note - I will be honest in saying this is very long and very negative. If you enjoy this game please don't let me be the one to ruin that for you and skip on this post. I will be discussing spoilers. This is just my opinion so please don't crucify me for it.

I think my thoughts about this game were shaky to begin with as I had been exposed to different spoilers and information before the launch. I wasn’t actually expecting this game to be amazing but as someone whose favorite Dragon Age game is Dragon Age 2, which is arguably the weakest in the series (until now), I still went in with the impression I would have a good time regardless. I did not have that at all, in fact towards the end of Act 2 and the beginning of Act 3 all I wanted was for the game to be over. 

The problems for me really started right in the beginning with the Inquisitor character choices and their characterization. No choices for your Warden, no choices for your Hawke, and only three choices for your Inquisitor out of the dozens you made in Inquisition. The romance option just felt like a very polite way of asking if you romanced Solas or not, especially after completing the game where your non-solas romance will only get one letter for you to read, outside of that, the Inquisitor will not even mention them. Disbanding the Inquisition meant basically nothing and vowing to stop Solas felt like it had little bearing on what my Inquisitor said when she showed up. 

The time frame to make Dragon Age 2 was just over a year and somehow included more choices from Origins than Veilguard did with over ten years of production. That is the information that's been banging around in my head throughout this entire game. In Dragon Age 2, we get the consequences of our decisions with Alistair’s fate and we get extra dialogue concerning Isabela/Zevran/Leliana/Anders/Nathaniel + some sidequests. Veilguard couldn’t even give us so much of a mention of our Inquisitor’s friendships and the consequences of those friendships outside of Solas. The Inquisitors themselves are locked into one personality type as well, and regardless if you choose to stop Solas or not, they are very amicable toward him. 

During the second cut scene you get with the Inquisitor in Dock Town, they will go on to ask you about your progress and then go on about Solas. Mind you, my Inquisitor is extremely unsympathetic to Solas and I chose the option to stop him no matter what, so why is it that every time I speak to her, she keeps trying to ask me if Solas is being genuine and that he was her friend? That doesn’t sound like someone who has vowed to stop him. They will also try to draw parallels between you, Rook, and Solas. Even at the end of the game, they will still try to appeal to you to see reason with him. That is essentially all the Inquisitor is there for. Incredibly frustrating. 

Throughout the game you will get missives from the Inquisitor detailing the devastation that is being brought to southern Thedas and every letter feels like more and more of an insult. To keep it short: Southern Thedas as we know it has been essentially wiped out. I think that deserves more than a footnote in some missive most players aren’t even going to see.

So the setting we spent all three games in, that we saved countless times, had our companions and protagonists die for, gets demolished in the background where we cannot see it. Skyhold had to be taken back from demons and whoops, that's not actually something you can do anything about. Nothing the Warden, Hawke, or the Inquisitor ever did mattered at all and it renders everything from the previous games absolutely irrelevant. 

With that aside, the companions are also another issue for me. I found myself having trouble getting attached to any of them and every single time I recruited one I had the internal question “Why are you even here?” None of their companion quests really tie into the story at large, save maybe Harding and Davrin, and they are incredibly boring save for a few cool moments.

The main appeal of Dragon Age for me is the companions, it’s why Dragon Age 2 is my favorite of the series. Despite the overused environments and the rushed production I still had a great time with it because of the companions. I was actually eager to do the companion quests and learn more about them and how they all fit into the main narrative. Even characters I didn’t like, I still understood why they were important to the story. Like I can’t stand Anders but I know why he is there, he has a purpose.

Every companion is painfully amicable towards you even if you decide to be “stern” towards them. I found myself not caring what dialogue option I chose about them because it made absolutely no difference. There is nice, funny nice, and gentle parenting. That is really all you have to work with in terms of the dialogue wheel. It was more difficult to get disapproval than approval and I can probably count on my fingers every time in this game I actually got companion disapproval. There is only one companion in my playthrough that became hardened, Lucanis, and it had virtually no impact on his character other than the fact he leaves for a couple of saves and comes back to kissing your ass. 

Something I actually really liked about BG3 and the previous Dragon Age games was working for your companion approval - this meant actually learning about your companion and what made them tick. If you don't understand them well enough you get disapproval, when you actually listen to their ideas and thoughts you get approval - there is an active effort to get these things. In Veilguard this does not exist and you are essentially promised approval no matter what, meaning there is no encouragement to know who these people are if they're just going to support you regardless.

I have to agree with the Skillup review they made about this game saying that every dialogue option feels like it was made with HR in the room and I one hundred percent agree. This is not how real people talk to each other. This is how teachers talk to toddlers when they want to explain the virtues of sharing toys with their classmates.

It felt honestly insulting at times to be treated like I don’t understand the concept of bigotry, I still have no idea what they were trying to go for with this, like were they trying to appeal to a market of high school boys who hadn’t discovered what empathy was yet? There is zero trust in the player and every dialogue and decision you make in these moments feels handhold-y and preachy. Like Pixar levels of life lessons you learn.

In the moments where I had to settle arguments over coffee and companions not respecting each other's interests, I could not honestly believe this is the same universe with Loghain Mac Tir, Meredith Stannard, fuck even Corypheus. Humor has always existed in Dragon Age and I love the comedic banter between the characters but it was always humor that served as an escape from the oppressive and dark situation around you, here the dark and oppressive situations feel like an escape from the unrelenting friendliness and tone deafness of your companions. 

The companion I probably had the most issue with was Taash and the way they were handled. I’m not going to get too deep into the Bharv scene because even thinking about it makes me cringe but If someone messed up my pronouns and then immediately dropped to do pushups I am most definitely killing us both. Isabela’s explanation is extremely preachy and she proceeds to do the exact thing she says she hates about people messing up pronouns. Anyways. Moving on. 

Taash I think is a good example of how to not write a multiethnic character. I don’t expect a white person like Trick Weekes to understand the first thing that comes with being multiethnic or having strict parents that intersects with that identity but it is most definitely not whatever the hell this is. 

The only thing I can offer here is that as a multiethnic person (my father is Palestinian and my mother is mainly Irish and Seminole) is that there has never been a point in my life where I felt like I had to choose what culture I am let alone give that choice to someone else in my life I just met.

That’s not what being multiethnic is. I do not have to choose between anything - I am whole and I don't need to cut myself into halves and quarters to be accepted.

It also feels subconsciously like you are supposed to choose Rivain as the Qunari are depicted as bigoted and oppressive as they always have been in this game. Knowing all of this really tainted my experiences with them as a character and I understand a lot of other non-binary individuals love the representation they brought on that level but personally, I’m just tired of “queer representation” always coming with racist undertones. Again, this game feels like it always had white queer people in mind, not lgbt poc. 

These kinds of comments are really only made worse knowing what the Qunari take inspiration from - primarily Black and Brown SWANA Muslims. Why should Trick Weekes have any authority over a questline like that is beyond me. 

Also, this sucked. Especially because they said it to Neve too. I don’t really want my non-binary representation sprinkled with Misogyny as well, especially since we can’t really call Taash out on this comment unless you’re playing a woman (as far as I know).

Aside from Taash, I thought the writing around Harding was strange. Don’t me wrong, I love Harding, but I do not remember her being this friendly and people-pleasing in the Inquisition. If you play as a Dalish elf the first thing she says is she’s surprised that you would care about anyone else - there is absolutely no inclination of this kind of perspective in Veilguard. Additionally, despite knowing everything Solas has done and the consequences that had on her ancestors, she still tries to push you to reason with him?

All of her quests about learning about the Titans, experiencing and embracing their anger, and you still want to appeal to Solas? That was another thing I found so weird about this game, throughout the entire story you are being told again and again that Solas cannot be trusted, he is to blame for everything, and will stab you in the back and yet it seems like every companion tries to push back on you if you agree with this viewpoint? 

Also, something I didn't know at this point of the game but I do now is that Solas had killed Varric and she does know this so why is she acting like this knowing Solas had killed her friend who she spent years with?

Genuinely this whole game felt like: Devs: Solas is a villain

Rook: okay understood

Devs: actually nvm you don't understand him if you think he's a villain

The only companion quests I was actually genuinely interested in were Emmrich and his thoughts around death and becoming a lich. Lucanis' quests had the best boss fights for sure. Outside of that, it felt like “Go here with Bellara” or “Go here with Taash” and it got so grating I couldn’t wait for these quests to be over so I could progress with the main story. It felt like an annoying back-and-forth game to finish a main quest just to finish all the companion quests and then go back to the main quest. Like a list of chores to get through before you can have any fun. 

The inclusion of characters like Morrigan and Isabela in this universe was extremely hollow and they do not feel like the Morrigan and Isabela we know at all. With Morrigan there is a bit of an explanation to this with the essence of Mythal however she reiterates that it is still herself and it is only the memories of Mythal that remain inside of her.

In my canon playthroughs of Dragon Age, I romanced both Morrigan and Isabela, so I was curious to see how the developers would address their pasts with our Warden and Hawke. Unfortunately, the answer is that they don’t address it at all. Morrigan hardly mentions her past, leaving us to wonder if Kieran even exists. The game implies that the relationship between Morrigan and the Warden is insignificant; a codex entry oddly suggests, in a very slut-shamey way, that Morrigan had more lovers than there are trees in the forest. Isabela doesn't reference Hawke either, as she fondly remembers Kirkwall for found family and friendship. It seems that if you romanced Isabela or Morrigan, congratulations—your canon doesn’t exist.

I will echo the statement others have made about all the cameos feeling like mascots because that is really what they are. There is no substance to any of them, Isabela only feels like she is there to be a supportive voice for Taash, Morrigan will only really talk about Solas and Mythal-Dorian is the only one who actually gets a substantial quest related to him. I thought he was fine minus the "illegal slavery" bit because what is illegal slavery Dorian. Next up we will discuss legal murder.

Another thing that genuinely broke the immersion for me in this game is how awful the armor is. It is a Dragon Age game so I wasn't expecting Haute Couture but the design is all over the place and nothing looks right. Not to mention the extremely weird orientalist undertones that follow the Lords of Fortune everywhere. The outfit Isabela is wearing is even worse in person and I tried to give this game the benefit of the doubt by thinking we would be getting some underwater mission with her and that would be the explanation behind her bikini outfit - this did not happen.

The belly dancer-esque outfits with the coin-bedazzled turbans were pretty egregious and made me want to limit my time in Rivain as much as possible. For a game released in 2024, I am disappointed we are still dealing with the same Orientalist fantasy tropes. Even the Qunari are more naked in this game than I had ever seen previously. At least DA2 and DAI gave them pants. But hey the Antaam are all blighted and evil so who cares right.

Speaking of the Antaam, a lot of the antagonist motivations for this game genuinely did not make sense to me. The Antaam are suddenly giving up their fear of magic to pair up with...the Venatori? To fight for the elven gods? It honestly felt like they had no idea who to make fight for the Evanuris so they just pulled two of the baddies from the Inquisition and went "We can just use them and call it done". When you press for information on why this is the answer is always a mustache-twirling dialogue about power. Nothing much deeper from that than any of the villains besides Solas. All of the villains, especially Elgar'nan and Ghilan'nain, are extremely one-dimensional and have no motivations other than being evil and striving for power. At least Corypheus had cool lines.

I'm not going to get too deep into lore changes since I know a lot of things happened in the comics, books, and TV show (all of which I did not read or watch) but I honestly do think it's a bad idea to have a "soft reboot" while needing to read several books to understand everything. That's not being welcoming to new players that's homework. If you wanted a soft reboot probably don't start off with half your plot and characters coming from various comics and novels people need to catch up on.

The portrayal of the Dalish in this game is inconsistent. When we inform them that their gods are evil and planning to overthrow the world, they respond, "Okay, heard you." How can they accept this explanation so readily? In previous interactions, Solas shared that the Dalish did not listen to him and even threatened him when he revealed this truth. Yet, when we present the same information, they believe us almost immediately. Is there no pushback or skepticism? The Dalish accept everything about the evil elven gods meanwhile Andraste’s followers remain completely unaffected by these revelations.

I think what frustrated me even more was watching our elven companions express grief and regret over the actions of the elven gods like they had something to do with it, painting the Dalish as adjacent to oppressors when they themselves are oppressed in every way. The only thing that remains consistent is the sad boy Solas act about it.

At the end of the game, two of my companions - Harding and Emmrich- were killed. Emmrich's death was unfortunately overshadowed by a zoom-in on a rock and I had no idea he had died until I got the popup. Still, all I can think about is just going "Rock moment" when he died. I don't really have anything negative to say about Harding's death other than the way she went out was fitting for her narrative. Bellara got blighted and there were no consequences for this and she walked away from it - forgive me but I am still under the DAO impression that if you get blighted that's game over but all the rules about the Blight have been changed in this.

I decided to trick Solas, and honestly, I don’t have anything negative to say about it, except that Solas should have noticed me holding the fake dagger since it was clearly in his line of sight. I liked the idea of outsmarting the god of trickery. While it wasn’t extremely satisfying, but I’m okay with how it turned out.

Even as the credits began rolling I still have trouble believing rook's role in any of this. Just the persistent nagging idea that they really just have no place in this story at all. In the beginning I wanted to see how Rook is looped into all of this and how they become central to the fight against Solas but just like with most of the companions, I have no idea why they are here. This should've been the Inquisitor's story to finish.

I'm not going to pretend that everything about this game was irredeemable and terrible. There were genuinely parts I enjoyed and had a good time with. The romance ending scene with Neve was fantastic, even though it took a long time to get there. Davrin was an unexpected aspect of the game that I actually liked, as I never cared much for Grey Wardens before, but he changed my perspective. Harding's mention of the Inquisition was also very sweet. Although I wasn't particularly invested in Emmrich, I loved the conclusion to his quest when he became a lich lord.

While I'm not the biggest Solas fan, I actually really enjoyed the cutscenes between him and Rook because one of my aims with this game was the ability to be mean to Solas and kick him while he was down. They definitely delivered there even though everyone else kept disagreeing with me.

The worlds are beautiful and the CC is definitely the best we've gotten in any Dragon Age game, I spent probably a solid hour in there. The hairstyles are great and the four unibrow choices? Bioware you shouldn't have <3.

Overall I definitely didn't have the best time with this game and towards the end of act 2 I was incredibly bored and the combat became repetitive and stagnant enough that I turned down the difficulty to get through it faster. I can't see myself replaying this any time soon and I am unsure what my stance on Dragon Age is now, do I Ignore this game ever existed or do I carve out everything I liked and pretend this is the Dragon Age I love? I have no idea, I am disappointed at how this game leaves us off and I really wanted to sit here and say It's good but I can't.

I think this game will reach out to and resonate with a different group of Dragon Age fans than me, I just wish I could enjoy it as much as I see other people doing. I was originally going to give this game a 3/10 but knowing you can pet the cats I will give it a very generous 3.5/10.

[novelmonger]

I wasn't expecting it to take this long, but after a million distractions, I'm back to going through the LotR audio commentaries and taking note of any interesting tidbits I haven't heard before.

Please enjoy my notes on the RotK design team commentary with Richard Taylor, Tania Rodger, Grant Major, Alan Lee, John Howe, Dan Hennah, and Chris Hennah:

They had to make Deagol's ears out of waterproof gelatin rather than latex because he was going to fall in the water, and the normal latex ears would have come off. I guess they must have done the same any other time a Hobbit got submerged, but they didn't say that.

The fish that Gollum eats at the beginning is made from some kind of edible gelatin so he could actually bite into it. They also had another prop fish that wasn't edible that they gave Andy Serkis to keep at the end XD

The little stone hollow thing where Frodo and Sam are sleeping for their first scene in the movie was a set they built with a removable back wall so they could get a camera in to shoot it from the back as well as the front. Why did I never think of that before?

There were a couple of extra shots they needed of Orthanc in the background to finish up the movie, but they hadn't managed to get the footage from the miniatures (and I guess the miniatures were gone by that point? idk). So they took one of the model collectibles Weta had made and took some photos of it out in the parking lot XD

Whoooooaaaa! Okay, so Alan Lee talks about how, in legends, they say that you have to kill a wizard three times for him to stay dead. And Saruman dies "three times" - first he's stabbed, then he's impaled, then he's drowned. So Saruman is dead dead. Dare I say it? This is...I think this is a better death than the one in the book ._.

They even put carvings on the crossbeams underneath the seats of the chairs in Edoras! You are never ever going to see them, but that was their dedication to making everything feel authentic. That's what sets this apart from so many fantasy movies and shows made these days.

Red in the costumes is meant to suggest royalty. That's why Aragorn, Boromir, Theoden, and Theodred all have red in their costumes - as well as Bilbo and Frodo! You're meant to look at someone wearing red and unconsciously think, "there's something regal about them."

John Howe points out that you probably wouldn't ever reforge a sword like they do with Narsil, at least not in the sense of putting the pieces back together, because it wouldn't be as strong as it was originally. (You could melt it down and start over again, of course.) But, he reminds us, these are the Elves, and it's more of a symbolic thing anyway.

The great hall in Minas Tirith was inspired by Charlemagne's chapel (and Byzantine architecture was one of the main influences on the design of Gondor in general).

The statue of the king in Ithilien was made out of polystyrene, which you would think would be pretty light, but it was so huge it was actually very heavy. They had to transport it to the location in three pieces: the base, the body, and the head. And to lift one on top of each other, they had to rig a sort of pulley system over the limb of a tree, using a four-wheel drive truck to pull it. But they discovered that the first truck wasn't getting enough traction, so they hooked a second truck up to it, and ended up pulling the first truck up into the air along with the statue!

They created fourteen new weapons just to put in the background of the armory in the scene where the Witch-King is getting ready for battle @_@

John Howe said that his inspiration for Minas Morgul was...getting his wisdom teeth pulled??? He describes a metal clamp digging into the perfectly healthy enamel of his tooth to pull it out, and draws a parallel to the metal pieces the orcs fitted to the top of the pristine white parapets, staining and violating them. Um...thanks, I could've done without that visual, John.

I can't believe I never thought about this before, but there's a little wooden roof over the pile of wood for the beacon that Pippin lights. The reasoning behind that is you need some kind of cover to keep the wood more or less dry for when it needs to be lit in an emergency. The beacon will burn away the wooden roof, but it can be replaced easily enough, and it's worth it to be able to quickly light the beacon.

A lot of the saddles they used were ordered from the Indian military, because they had a good, old-fashioned sort of look to them. Then they would add onto the saddles with things that would make them look distinctly Rohirric, rather than Indian.

Alan Lee's daughter worked on some of the figures in the doors of Minas Tirith!

John Howe goes off on this whole tangent about how there's no religion or religious structures in Middle-Earth, and why that might be, but the whole time I was just sitting there going, "...have you never read The Silmarillion????"

Because they had to make over a hundred suits of Gondorian armor, other than the hero suits, they couldn't make each one exactly the right size for the man who would wear it, so the casting department had to only get actors within a certain range of size. They also built the suits of armor with sliding pieces, so they could be somewhat fitted to different sizes.

The horses started out as being part of the art department's responsibility, but as time went on, there were just so many horses they had to keep track of (and the various liveries they would have to be fitted out with) that they had to make a separate horse department to oversee it all.

Because so much of the movie was filmed on-location, in some very remote locations, they had to make a sort of caravan of mobile repair stations that they could take with them. They had all the tools and crew necessary on hand wherever they went so they could repair broken props or ripped costumes, reapply makeup for gore and injuries, take nicks out of the edge of weapons.... It was really like moving an army around!

For the dream where the Evenstar breaks, they made a version of it that was five times bigger than normal, out of a very brittle resin. Then they made an oversized section of the floor and dropped it from a great height so it would completely shatter in a dramatic way like that.

Anduril was John Howe's design. He based it on a sword belonging to a friend of his in Germany, which to him is the ideal sword, the most beautiful sword. He also talked a bit about how Men were taller and bigger in the First and Second Ages, so their swords would have been longer.

John Howe: "Why do people criticize Tolkien for not developing his characters sufficiently? I cannot fathom that kind of criticism. I think it's done by people who don't read between the lines."

Richard Taylor said they had a lot of fun gathering up all the skulls after each take in the Paths of the Dead to put back up at the top so they could be poured down again. Apparently Viggo liked to gather them up and try to throw them at the crew members! "Many hours of skullduggery was to be had," as Richard put it XD

Apparently, they'd made dozens of really finely detailed silicone heads to be lobbed over the wall of Minas Tirith, but then all but one of them were stolen! So they had to quickly put together some crude latex ones to use in the shoot instead (one of which the mayor of Wellington threw). They didn't talk about this, but I'm assuming the one good head that was left is the one that gets a close-up. You have to wonder who out there was sitting around with a bunch of highly realistic latex severed heads in his basement or something....

While most of the siege towers are miniatures or CG, they built the top third of one and put it on tracks so they could move it up against the wall. They built the set with breakable ramparts for when the little drawbridge thing crashes down.

They had the same trouble in Minas Tirith that they did in Helm's Deep, with the battering ram being too heavy for the stunties to lift. But they never actually explained how they got around that problem, if it was the same solution or not :/ All they said was that they had replaceable panels in the doors, in case they were damaged by the battering ram.

In order to make Shelob's webs, they had to heat up two polymers and mix them together to make the stringy, sticky material. In order to mix them, they had to be heated up to 220 degrees C, but if they got up to 228 degrees, they would burst into flame @_@ After they were heated and mixed, they would dribble the mixture on top of a vat of water, where it would cool in spiderweb-like shapes. Then they would lift it out on a frame, and they could carefully place it on the set. One time, the polymers did burst into flame, and they were running out of fire extinguishers to put it out! O.O Eventually, they did call the fire department, who said they'd done everything the fire department would have done. They got the fire put out, but it was a nerve-wracking moment, because the room where they were making the webs was connected to the studio, so it could have been disastrous D:

Bernard Shaw apparently got the idea to do that whole bit where he knocks his sword against the row of spears when he saw the collection of spears all lined up in a row in the art department.

The "oil" that Denethor pours over himself and Faramir is a mixture of glycerin and water. (I always wonder about these things, so I'm really glad they mentioned it.)

When they were filming the pyre scene, they had a silicone dummy for Faramir on the burning pyre. Apparently somebody on the crew brought "David Wenham" a cup of coffee over because they thought he'd fallen asleep on the side of the set, only to discover that it was a dummy! XD

The horse rig they made for close-up work of people on horseback got affectionately nicknamed "the Phony Pony." The first day they brought it on set, Peter Jackson got up on it and "rode" the horse, making the whole crew laugh XD

One of the ideas that Peter Jackson came up with for the mumakil in a brainstorming session (which Richard Taylor says he's still not sure if PJ was serious about or not) was that they could suck up several riders in its trunk and then fire them out like bullets. I'm...really glad they didn't go with that, whether PJ was serious or not <_<

Alan Lee says that the first time he saw the dead mumakil that Weta made for the set, the body was hollow, and some of the crew had set up a TV inside it and were watching a rugby game XD

The last miniature they built for LotR was the Minas Tirith docks where the Corsair ships come in. It kept getting put off until almost the end of the shoot, so they only had five days to put it together! @_@

All of the dead horses are fake, of course, so Weta had to make them all. They were made of lightweight material, so each day you'd see the set dressers just kind of casually carrying in a whole dead horse and then picking one up from the battlefield afterwards like it's no big deal. They had to do a lot of repairs to the dead horses, because the legs and ears kept falling off or getting bent the wrong way XD

The stone Watchers in Cirith Ungol have Maori influence in their design. I wish they'd talked about that in more detail, but it was just mentioned in passing.

They were concerned about the various copies of the One Ring being stolen, so they kept it in a lunchbox that was labeled "Screws."

The scene where Frodo and Sam join the orc convoy was filmed on location up on a mountain, so they had to deal with a whole bunch of extras in extensive prosthetics and armor, which would make them sweat while they were moving around, but then when the camera wasn't rolling, it would be a challenge to keep them warm. The way they did most of the orcs was that they wore a rubber mask and then a helmet, and they would need to take them off at regular intervals so the actors could get some air. So in between takes, after the director called, "Cut!" there would also be a cry of, "Heads off!" That meant the dressers would have to rush into the crowd and quickly take off the extras' helmets and masks XD

Because the crew was committed to not damaging any of the flora and fauna in the places where they were filming, even in the location that became the plains of Mordor that Frodo and Sam struggle across, there were little flowers and moss that they wanted to protect (and it was a national park). So they would lay down carpets on the ground for people to walk on, so they wouldn't damage the plant life. I'm sure that made for a strange sight, Frodo and Sam struggling in tattered clothing over rocks and boulders, surrounded by perfectly ordinary rugs XD

To do the decapitation of the Mouth of Sauron, they had a headless dummy sitting there, and Viggo would swipe his sword where the head should be. Then Weta Digital put in the head afterwards.

The lava in Mount Doom was mostly a miniature (except for the set where Sean and Elijah did their part), made from methyl cellulose and other things to make it look like lava. They set it up on a table that they would tilt so it would flow down around the model boulders made from urethane.

Richard Taylor said that, at that time, no one had really done a very good CG bird, so he was especially pleased at how the eagles turned out.

There were about 400 people working in the art department total, and most of them had never worked in the film industry before! @_@

Ngila Dickson's philosophy for the Elves was that none of their "crowns" or headpieces would go upwards, but would fit close around their heads and then go down. That's one of those things I've subconsciously noticed all these years, but never really thought about before.

Apparently, a little bit of the graphite used on Aragorn's armor in the coronation scene kind of puffed out when he and Arwen go in for their kiss, and got on Arwen's dress D: And some well-meaning person tried to rub it off, but only succeeded in spreading it around further, thus ruining the dress. And most of the female characters only had one copy of each costume, because all except for Eowyn don't see battle and thus don't need different versions with varying amounts of wear and tear. They're just made to wear in one or two scenes of them looking pretty and walking through a room. But alas, that lovely green dress was ruined.

They didn't have much time with Sir Ian Holm, so they only had a week to get a mold of his face and make the old-age prosthetics for the Grey Havens. But then word came down that he didn't want to have prosthetics, so they were to just make him look old with makeup. They were really disappointed, but then on the day, Ian Holm saw the prosthetics sitting off in the corner and asked what it was. When they explained, he said it wasn't true, and insisted on them putting the prosthetics on instead.

One thing that was really impressed upon me during this whole commentary (over all three movies) was just how much love and joy all of the crew had for the project. Sometimes you watch a movie or read a book that really means a lot to you, that's changed your life, and you wonder if the people who made it fully grasp what a beautiful thing they've created. These people know. They were fully aware, from start to finish, that they were making something truly great and worthy of praise. And I think that's beautiful.

[autisticaradiamegido]

Hey since your requests are open, could you maybe draw Hal? Doing anything, I don't really care what (only if you want)

day 96

YES i actually got 2 thinking about hal today thanks to this post (and my tags even passed peer review yippee thank u) ANYWAY. in addition to all of that. I HAVE ALWAYS THOUGHT he and aradia would be friends.

ok i wrote all this out and it got long and kinda rambly bc im tired so im putting it under a cut lmao HALRADIA FRIENDSHIP RANT IN THE READMORE

i think there would be.... maybe a little tension given that aradia eventually ended up in Her Own Flesh And Blood Body and hal would presumably not have that option?

but overall i think after the way her friends treated her as a robot, and the experience of going from experiencing life as a living breathing organic person to a bodiless entity to HAVING a body but that body not being the same as the one you remember.... idk! it's like EXTREMELY EXTREMELY SPECIFIC AND MORE THAN A LITTLE TRAUMATIC and they could share it with each other!! how fucking lovely is that.

not to mention they both kind of have a history with equius?? (assuming this is post arquiusprite in some way. i certainly have an extremely self-indulgent "everyone lives" au for this scenario where they're able to safely separate into their pre-sprite components and then hal and aradia become buds.)

REGARDLESS i think it would be interesting for hal (who has ostensibly nothing but positive shit to say about his connection to equius) and aradia (who has some truly fucked things to say about her experiences with equius) to Talk Through All That.

not 2 mention the parallels that can be drawn between dirk/hal's perception of their relationship with jake being this kind of... Manipulative Pining Weirdness, and aradia being on the other side of somebody else's Manipulative Pining Weirdness and sharing that perspective without even knowing about all of that dirkjake backstory OUGH im tellin u it is all a very complex and wonderful scenario to consider and like, im not even much of an alpha kid aficionado tbh. hal experts chime in on the comments i know youre out there and i wanna hear your takes.

[ask-whitepearl-and-steven]

Is shattering permanent in the comic (especially with the force fusions and cluster) or can it be fixed down the line like future did? Asking for your opinion on this too bc I found out about it in Future and it makes me feel weird (bc now it feels like any SU stuff and shattering has no consequence or tension, so haven’t been able to read or write stories). Maybe I’m seeing this wrong? Would love your thoughts

Hmm...

So to answer your first question: The comic for WDAU works on the same rules as canon does. I have no intention to over-write anything canon clearly stated to be true.

The ability to put back together shattered gems is definitely a part of that.

So yes, theoretically, even in WDAU, gems being shattered is not 'the end' because they can be eventually re-instated through the work of the diamonds, IF they someday decide to Change Their Minds like they did in the original series.

That being said...

I want to talk a little bit about something you said, because it tickles my brain in an interesting way:

"now it feels like any SU stuff and shattering has no consequence or tension"

And the best way to talk about stuff, I've found, is to ask questions about our underlying assumptions. So my questions for you (all) today are:

For us humans, death certainly IS a constant that remains ever-permanent, and thus it's easy to compare it to shattering and draw that parallel... but is that a fair comparison?

In fiction, death is often circumvented and there still remains reasonable tension in things like magic-heavy worlds, vampire novels, sci-fi where almost any sickness is eradicated, etc. Is this not quite similar to what shattering is for gems?

Is the perceived permanency of shattering the only reason it feels like a heavy consequence?

Are there OTHER consequences of being shattered that make it just as interesting, if not more than, to be explored as a plot device?

Must there be an ever-looming threat of something horrible and permanent happening to make a story good?

There isn't a right or wrong answer to these questions, necessarily. I'm not posing these in order to lead you to a singular, 'absolutely correct' conclusion or way of writing.

For some stories, death DOES need to be permanent in order not to make light of what the characters go through! In some forms of writing, there IS no other way around that consequence.

But I daresay SU is not one of those stories.

Let me put it this way - 100 years ago, medicine had only BEGUN to develop into the thing we know it as today. Sure, there were therapies and treatments for diseases, broken limbs, poisonings, etc. Some of them were quite good, even! But overall, the death tolls back then from basic illness were MUCH higher than they were today.

Pnumonia, Malaria, Syphillis, Smallpox, Bubonic Plague, AIDS.

These were things that people died from, with near CERTAINTY, for the LONGEST time. They were considered the road to a permanent black screen.

And today? Even though they are still, without proper intervention, JUST as deadly, we now have new tools and vaccines to combat them. Hell, if you get vaccinated fast enough you can get bit by a rabid dog and live to tell the tale, unscathed! Rabies used to be a one-stop-shop to the afterlife.

Despite this, we still view these diseases with appropriate fear. They are still dangerous - in the right conditions.

In the right conditions, the consequences for a LOT of things can be permanent. If permanency is what you're looking for.

So alright, the Diamonds can heal shattered gems now. Booooring. How easy it is to fix any shattered gem! What a simple solution to anything tragic.

But................... will they ALWAYS do so?

In fact...will the Diamonds ALWAYS be around?

Will the gems who got shattered always be picked up, piece by piece, and be brought back to them, perfectly preserved? Or will they lose pieces of themselves along the way - literally?

And what NEW consequences can we think of, when we stop thinking of the permanency of death, and start thinking of the Impermanence of those tools that keep us here longer and longer?

Just food for thought. 👀

[kasarasun]

what if I made a thing or it already was that while Airplane wrote the world, Peerless Cucumber illustrated it (only the animals. And Binghe, fighting the animals.) And then then then

He'd totally do it on an alt account, right?? Peerless Cucumber can't be seen making fanart!! (And he's good at it. Like, wiki is using his art in the monsters and beasts pages (that Peerless Cucumber volleyed for. He also separated it from the plant section.) Because 1 its good 2 the artstyle is consistent 3 there isn't a lot of monster official art, other than that one with the black moon rhinoceros python and those other ones and 4 it's really that good)

Haha incomprehensible parenthesis nesting aside, Airplane is watching the forums, right? Not sure about other stuff in canon but he looks at the forums and the fanart and the fiction and most of it is probably corn and binghe and just a little bit of mobei-jun and also the wives tm but!! There's also that guy!!! The monsters guy!! (People would probably suspect 'Drawing the Beast's Ire'- or some other sex euphemism I'm not good at making those- of being Peerless Cucumber because 1 the writing style is the same 2 Peerless Cucumber is the number 1 contributor to the PIDW wiki and a lot of it is the monsters and beasts section and it makes sense, yes??) Anyway, Airplane shooting towards the sky suspects but not too seriously suspects Mr ire of being cucumber's fanart alt but uh uh that ends pre-transmigration section

So, Shen Yuan starts running about, right? Things seem really... familiar, maybe thats the word?- for some reason. This is because every animal and plant he's ever drawn, sketched- maybe even thought about but that's a stretch?- is his design. The firefly parallels hold their forelimbs like butterflies. That is how far down it goes. Maybe it doesn't come up until later, but beasts and monsters from fanfiction get involved, oc species, too... anyway,

Airplane Shooting Towards the Sky transmigrates 30 years (iirc) before Peerless Cucumber. He was an avid enough follower of Drawing the Beast's Ire to recognize that these are their designs! Here's where it gets really crazy. Xiao-Mobei comes along, and while he's still pretty young, Airplane can tell that this is Drawing Ire's design! Some aspect, maybe his ears or teeth, (this isn't a well built theoretical tangent) of Mobei isnt canon. Its Drawing Ire's. From that one Northern Kingdom collection. Whatever stretched his world building into coherence, completion, didn't just pull from fanwork, official art, whatever it could find, it went for Drawing the Beast's Ire's designs specifically. Damn that's crazy Airplane ahahaha moving on,

This is getting really long so I'll be a bit more concise, (want to know more? Talk to me. Please talk to me. I want to interact with the fandom. Ask me questions. Poke your fingers into my cage.) This all comes to head at the Immortal alliance conference. The monsters and beasts really start pouring in! And Shen Qingqiu/Yuan remembers his creations. However, he assumes that this is because like 1 other person maybe was Drawing ghost head spiders.

Hey, Peerless Cucumber really liked the monsters, right? The deadlier, crazier, more intricate, the design the better! So maybe, when he was drawing, he... added some things, really believable, logical additions, really just small creative decisions...

Anyway, the monsters that Drawing the Beast's Ire made were where it came to a head.

Lets have another Canon divergence. Maybe, during or after Binghe gets pushed in, out of the rifts comes a species that Drawing Ire created. It's beautiful, poisonous, beloved, and really quite deadly. Shen Yuan/Qingqiu, Peerless Cucumber, Drawing the Beast's Ire... realizes, quite like airplane before him, that he's illustrated, practically sculpted with his own hands, monsters from the Endless Abyss with claws and teeth and poisons as deadly as Peerless Cucumber thought that the really cool monsters could deserve. It feels like he's the one cutting, biting, poisoning his sweet little sheep. It feels like he's digging out the marrow from his little white lotus disciple's bones.

Ok it is shut up time 👍

[piromina]

OVERANALYSIS OF THE BURNING SPICE UPDATE TRAILER BECAUSE YOU KNOW I HAVE TO

we open up like this. pretty ominous words ... and you wonder which one is the demon and which is the god. burning spice and golden cheese seem to be very similar, possibly the most parallels that one could draw from the ancients and their respective beasts.

And then we get this shot. Obviously it's showing the soul jam, but there are also some things behind it. One resembles a snake ... APOPHIS ANYONE? this has THE most Egyptian mythology symbolism ever. if golden cheese represents ra, which makes one hundred percent sense considering her kingdom and wealth and radiance and all that, and the fact that she resembles a falcon, then the snake on this wall HAS to represent apophis. it can't not. heck, in some versions of the story apophis was A FORMER SUN GOD. like crk def knows what they're doing.

there's also this tiger character ... nutmeg tiger I'm pretty sure? something like that. they seem to be under the influence of burning spice, as well as all the creatures around them. they seem to be at a higher "position" than all these other guys, though. maybe a willing host?

and there is this. this is really interesting. the fact that Golden Cheese is the one to say this is very intriguing. as far as we knew, the ancients had no knowledge that the beasts even existed until pure vanilla's trip. he wrote the letter to dark cacao, and it was all "you won't believe this - but the place called BEAST-yeast has BEASTS in it!!!" and dark cacao was equally surprised. they didn't know. they thought they were the first ever wielders of the soul jam. but golden cheese ... seems to know a bit more than she lets on to the rest of the group. and a bit more than us. what the heck is the spice swarm?

also, the return (and release) of smoked cheese!! man I missed this guy. he seems to be working with golden cheese in this shot, but then what was his little deal at the end of the first teaser about? it does make sense, though, that he would try to at least be against burning spice - his entire goal is to get the soul jam because he thinks the current wielders aren't worthy - but to me it seems like he might have his own third side in this battle. he'll probably convince both sides he's working with them, knowing this dude. he wants the power of abundance and destruction, a second half he knew nothing about, the ability to make a change in the kingdoms and the lives of everyone in them.

and these two images are probably the most interesting of them all. they seem to be part of some sort of ancient papyrus or prophecy or something like that. golden cheese is yelling about the "great destroyer." could it be possible he was some sort of legend in their kingdom, a prophecy just waiting to unfold? could golden cheese have known about this threat since the beginning? could the beasts' corruption have been inevitable from the start, written in the stars ... and could the witches have known about it?

[sassasafreeaction]

It’s time to talk about the Laudanum Lesbians, Elspeth and Wee Morag. Right away, it’s pretty obvious that you’re supposed to draw parallels between them and Aziraphale and Crowley. When the viewer first meets Elspeth, we get this gruff girl who threatens the two of them and is established to be doing something “morally wrong”. Life hasn’t been kind to her, and she clearly doesn’t trust people. To really drive it home, she and Crowley are on the exact same page while they’re talking to Aziraphale and wheeling the body to the alley. 

Then we meet Wee Morag, and it becomes apparent that every decision that Elspeth makes is to better their life together. She offers Wee Morag food (which is something our favorite demon is wont to do for his partner) and specifically oversells it as something fancier than it actually is. Wee Morag calls her an angel. It’s meant to be a little tongue and cheek since it’s in the presence of a literal angel, but it also serves as a way to show that while Elspeth may not be a Good person, that she at least cares about the person close to her.

Now for Wee Morag at this moment, we don’t get much from her aside from her obviously being the moral compass out of the two of them. She tells Elspeth that she's going to Hell literally two seconds after referring to her as an angel. The more important part of this interaction I would argue is Aziraphale’s response to Wee Morag. Some part of him recognizes a kindred spirit in her. He takes off his hat in a show of sincerity and says that it was lovely to meet her. This is important for later in the episode.

After they fail to sell the body, all three of them end up back in the alley with Wee Morag. Elspeth is again choosing to not trust Aziraphale despite his change of heart to do what he now knows is actually a good thing. Wee Morag starts off on the fence, worried about those souls that won’t get into Heaven. Elspeth tells her that she promised to help, and through everyone’s various methods of convincing (tempting may even be the better word as there is a demon sitting next to her when she agrees), Wee Morag says that she’ll do it because that’s what friends do. Regardless, she’s now had her change of heart. Although I would say hers is more driven by the same thing that drives Aziraphale to help with the Antichrist. It is fundamentally for her and Elspeth’s benefit, not the Greater Good per say, but she needs that reframing of doing the moral thing of upholding her promises and potentially helping people.

In the graveyard, Elspeth does all of the hardwork and Wee Morag holds the light both to assist how Elspeth sees, but also likely to help her keep watch. She’s filling a guardian role for Elspeth. Later when Elspeth sells her body, she even says “She only wanted to look after me.” Upon seeing the actual body (a priest’s body no less), Wee Morag realizes with horror what they’re doing - the potential moral ramifications stare her in the face. She ends up caught in the crossfire of a gun, and she dies for it.

Originally, I thought that Wee Morag’s death sets Crowley up to worry about what might potentially happen to Aziraphale in the future. In a way, I still think it does. She was the Good character helping the Bad character, and she pays dearly for it. His line “It’s a bit different when it’s someone you know, isn’t it?” while pointed at Aziraphale can be felt by everyone in the room. Elspeth has been dealing with death this whole episode, but her whole life is turned on its head when her ‘pal’ dies. Crowley recognizes that it’s the knowing part that actually causes something to hurt. (It’s one of the reasons why he doesn’t have many human friends. He does have a friend though, and it would absolutely gut him to lose him.)

The episode isn’t over though. We still have to watch someone else pay for stepping over the imaginary boundary of Good and Evil, except rather than it being Aziraphale, it’s Crowley. Like Wee Morag, he steps out of his usual role and helps Elspeth, and for that, he pays dearly. He gets dragged off to Hell to have whatever Demons do instead of a rude note done to him. After everything that’s happened, it’s no wonder why you get that panicked shout of “Crowley” from Aziraphale. They just watched the worst case scenario happen for people like them. 

Also as another quick fun aside, both sets of characters are bound by something that allows them to not be able to carry out their actual dreams and goals. Elspeth and Wee Morag were bound by poverty while Aziraphale and Crowley are bound by their respective Head Offices.

[saintyveningstar]

One thing right

"I-I just thought, you know. Eddie" He holds both his hands out parallel, then moves them to the side, "Edward."

Eddie just chuckles this time, staring Steve in the eyes. "No, sweetness. It's not Edward."

"So if not Edward, what—? No, don't tell me it's just Eddie—"

Eddie looks almost offended at the statement, but he still smiles all the while, "Oh, no, of course not. If my parents got one thing right, it was my name."

OR:

In which Steve Harrington finds out that Eddie's name is not Edward, and more shocking facts about him follow.

Eddie looks at him with sweet smugness, head resting on his fist as he looks down at Steve, who's laying flat next to him. His other tattooed hand rakes up and down Steve's chest, and he has something devilish in his eyes. 

"You look so nervous, baby." He says, smiling wider, dimples deeper. Eddie huffs in amusement, "Surely little ol' me isn't scarin' a big boy like you."

"Eddie—" Steve's breathing is near ragged as he runs his hand through Eddie's curls.

"Stephen." He replies so endearingly it was like he was doing nothing at all. Steve's hands untangle from his hair, move down his neck, cupping in tenderly before his fingers traced Eddie's necklaces, tugging him closer.

"Edward Munson, don't act so innocent—"

Eddie giggles, then full blown laughter startles Steve out of his moment of dominance, and Eddie draws his hand back to cover his mouth. Steve can't help but feel a little insulted. "What?"

"I'm sorry, I'm sorry." He gets his giggles under control, but the amusement still peeks through his words. "Who?"

"Eddie, what—?"

"You said Edward." He points out, poking Steve's nose. "My name's not Edward."

"Well, who told you my name was St-Stephen?" Steve says, sitting up, as this conversation has him very deeply troubled now.

"Oh, I don't know, your license, passport, ... your parents."

"Oh." He says, dumbfounded. Steve cards his fingers back through his hair, then proceeds to talk with his hands - like a true Italian would. "I-I just thought, you know. Eddie" He holds both his hands out parallel, then moves them to the side, "Edward."

Eddie just chuckles this time, staring Steve in the eyes. "No, sweetness. It's not Edward."

"So if not Edward, what—? No, don't tell me it's just Eddie—"

Eddie looks almost offended at the statement, but he still smiles all the while, "Oh, no, of course not. If my parents got one thing right, it was my name."

All the times that Steve had wondered just what was wrong with the way that Eddie and Wayne spoke was running through his head, at the forefront of his mind. Not quite southern, not quite midwestern. Eddie had told him that he was from New York before, but there was something under that that he couldn't place ...

But Steve was more than happy to push that to the back of his mind when the trill of Eddie's r's tantalized him, and the roll of his tongue drew him into a kiss. 

"So ... what is it?"

Eddie just laughs, kisses him, and that's the end of that conversation.

୧‿̩͙ ˖︵ ꕀ⠀ ♱⠀ ꕀ ︵˖ ‿̩͙୨

Steve doesn't officially find out what Eddie's name is until Wayne is coming home one day, unaware that Steve is there with him. They'd been laying together, similar to way they were before, but now Eddie's head is laying on his chest, tracing patterns in his chest hair, down his belly button, to the end of his happy trail. 

The brunette would bat his eyes teasingly, and never quite go there, and then laugh at Steve's betrayed face. 

"Kid?" Wayne calls out, and neither of them really notice because of how loud Eddie's music is playing from his stereo, and how caught up they are in each other's eyes. "Ed?"

Wayne is closer now, right at the door. He knocks, "Edemirzachaai?" 

Steve takes mental note of the pronunciation — [Ed - a - meer - za - shai]

Eddie slowly draws his gaze away from Steve's, looking at the door, "Sir?"

Steve sputters, and Eddie hits his thigh, throwing a sly smile over his shoulder. Steve was struck dumb, because this is the name he'd been waiting to figure out for months now, and it really didn't disappoint.

"Y'okay in there?" He asked, "Still breathin'?"

"Yes, sir." He says, "And Steve's here."

"Are y'all decent?"

"Decent enough, you can come in."

Steve's mouth is still hanging open, and Wayne turns to Eddie, "چرا مثل یه احمق نگاه می کنه؟?" What's he looking dumb for? he says, and Steve is almost certain he's been insulted because of the way that Eddie laughs so hard he's wheezing.

"Don't be so mean, Wayne." Eddie replies, "He's getting culture shock."

Wayne leaves them be, and Eddie scoots back on the bed to sit up next to Steve. 

"So, is that your name?" 

He nods, then gets up as a thought plagues him. He ruffles through his things in the very back of his closet. 

"Eds, what are you doing—?"

"Found it!" He holds up a crumpled rectangle - or at least thats what it looked like - piece of paper triumphantly, then shoves it into Steve's hands. The paper is worse for wear, and looks like it's definitely seen some things.

"What's this?" Steve looks down at it, frowns. 

"It's my birth certificate!"

The paper reads: Edemirzachaai Yonah Urisah Lailaura Nurimeitarza Jude-Avraham Munson — and Steve doesn't think he'd ever seen a name so long in his life.

He can't help but keep reading it and re-reading it, twice, three times over, because it's about one of the most beautiful things he'd ever seen aside from Eddie's face.

"Eddie, what are you, dude?"

"You say it like I'm some foreign life form or something!" He defends, "I'm not an alien, Jeez. Well—" Eddie laughs at his own joke, which makes Steve laugh in turn. "No, seriously. I'm Persian, with some Jewish in me."

"Jewish, Persian?"

"Well, the David's star tattooed smack dab in the middle of my chest isn't just for decoration, sweetness. Let's use our common sense here."

"How come I never knew?" he grabbed Eddie's hand.

"Kinda wanted you to just figure it out, I dunno. But now you know." He shrugs. 

"Every new thing I found out about you just makes you that much cooler than me, you know." Steve says, and Eddie leans to kiss him. "I don't have anything as cool as Persian or Jewish in me. I'm just plain Italian."

"Do you want some?" Eddie asks lowly, with that same devilish, bashful look in his eye. He bats his long eyelashes, and his dimples are so prominent when he smiles like this.

"I don't think I follow ..." Steve says confusedly, not quite getting it. "Some what?"

"Persian in you?"

"O-Oh—!"

[jellazticious]

bing bong bootleg SS au

very long ramble under the C

stuff are subjected to change

The working title isn't solidified but I'm leaning on either Candy Castle or Pastry Castle

Tho I think I'm gonna go for pastry cuz it has the same amount of letters as castle much like pizza and tower have the same number too

The tower is a gingerbread castle. According to a friend of mine (It's Beefy, it's always Beefy go follow him) that Hispanics love their bakeries and yeah, I guess that makes sense. Not only do I have a theme based on the protag's culture but also the theme gets narrowed down to just baked sweets. Candy in general is too broad, I would die figuring out how to put every kind of sweet in it, and if I did it's gonna be really cluttered hooboy

Noise is called Theo because that's Peppino's name formula. Peppino is a nickname for Giuseppe so I thought I'd give Noise's swap a nickname to Theodore as the main name

Hazel Nutt is pretty self explanatory cuz Noisette means hazelnut in French

Their outfits are pretty simple to mirror Peppino and Gustavo's with just coloured shirts and aprons

Hazel doesn't get a mount because she would have Theo's prototype rocket skates. Just like Gus, she would have different stages of getting used to the skates per floor. First she gets blasted from end to end cuz she can't control the thrust. Second, she manages to turn it off but she's trying to keep balance on it. Third, she catches her breath now that she could stand still without moving or slipping. Next she would make a card castle, in reference to the very castle they're inside. and lastly she'd be holding a box of sweets without giving a shit about the scary floor.

To parallel the og Noisette, Hazel would smile bigger when Theo faces her direction.

Hazel is also Theo's delivery gal to match and switch with how Peppino WAS Gustavo's delivery guy

The "kick the rat" function would be Hazel swinging one of the skates and the cops grabbing Brick would instead hold a weapon detector that also functions as a magnet

Unlike Peppino, Theo is more aggressive than anxious. Imagine an injured cat defending itself from what it thinks is a threat

the name of Pizzaface's swap is Pieface for obvious reasons 😭

but HEAR ME OUT

both pizzaface and pieface are used as insults. pizza face is used for people with so much acne and pie face is used for someone with a flat face or dull expression. It isn't just a pun on what food the characters are made of. Pieface is also a reference to the trope where people headshot other people with pies. With the mech floating towards the protag, it would look like a pie is being thrown and targeted at Theo

Honestly drawing what food makes his face is so fun. Did you know that before the croissant smile it was supposed to be syrup shaped to a smile? The nose was a long whip of cream before turning into a cut strawberry for the mustache effect

Pizzahead's candy version would be called Gingerhead because of how ridiculous it sounds.

Gingerhead is based on Willy Wonka much like how Pizzahead is based on Ronald McDonald which is why he has more of a showman look than a clown look

okay side note, it just occured to me how ironic PH being based on Ronald is considering McDo's isn't a pizza place

actually Wonka doesn't even sell cakes and shit so, I guess it's fair game

Theo has the nickname Muffinman to reference the rhyme. but this time, it's the gingerbreadman chasing the baker

Next up is Mr S, who would be Peppino but he becomes rich. Mr S is the stage name he uses. He is a known celebrity much as Noise is but he is more of a boxer than a host. Like Dwayne Johnson or something. His name is partially a reference to ResEvil's Mr X, another absolute unit of a guy

also the reason why he doesn't wear a shirt. He's committing to the bit. If he needs to cover himself when he isn't playing a role, then there's his robe. He doesn't take out his mask most of the time tho

Mr S's mask is based on the Chef Raider design but also part of the scrapped superhero design much like Pizzano. Actually speaking of Pizzano, S is characterized so similarly to him cuz Pizzano is the only SS character who was actually written well to my standards. To be fair we've seen too much of Peppino to flunk characterizing him sksksk

Since this is Peppino that Mr S is based on, he's not as tech savvy or as self centered as Noise so he doesn't have robots that look like himself. Instead he has ants for a crew

the ants swap the place of rats. the rats in PT reference the new york pizza rat while ants just generally eat your food especially if it's sweet when left alone for five minutes

the ants come from Mr G, who would be Gustavo's swap with Noisette. He's Mr S's lawyer. at the end of S's bossfight, G would snatch him away with Click (the ant) because S would make a foul and embarrassing move on live camera

I can't seperate Gustavo and Brick so Click stays with Mr G instead of assisting Hazel

inside what would be Noisette cafe, instead of Mr G and Click being behind the counter, they would be sitting as customers next to Caraman. the barista isn't seen anywhere

Honestly when I'm writing everyone, my logic of swapping them isn't "make them switch places AND personalities" but more of "write every single one of them with the og personality because giving them a different lifestyle/role would drastically change their motives and how they behave"

I'm practically just swapping each character's place of birth

I mentioned this because it's kinda funny with Noisette and Gus since they play the exact same role of assisting Peppino/Noise so swapping them won't change much in how they act. They also have the same cheery and welcoming personality by default so Hazel and Mr G would act REALLY similar to their og

The only difference is that Gustavo can be threatening whenever Peppino fucks up. It fits right in with being a lawyer for the same goon

Now we got Mel Caraman who would become this au's Vigi. Lemme just say off the bat that Caraman is just as delusional as Vigi. He gets hired as a guard for floor 2 and took it way too seriously that he thinks he's some sort of sentinel. Hired as a guard but thinks he's an ancient guardian or something

his name vaguely references James Bond because you also VAGUELY get "caramel" out of "Caraman, Mel Caraman"

Caraman is a caramel apple but he's half glazed to form an eyemask. he's also got a stick poking out his head that stretches his chorro hat. the big hat makes him look cooler anyways. Bro I was so ready to settle for a shitty wild west mayor hat and I owe Beefy one for suggesting a new hat. I was gonna make him look like Doug Dimmadome with the short brimmed tall hat😭😭😭

but yeah Caraman doesn't have the same dignity as Vigi does. He can fight crime decently on normal circumstances and badass when he's full serious. But like day in day out he's so obnoxious about looking for crime that people get tired of him nor would they take him seriously

he would also be mistaken for a pepper

Next to last, Cam M. Bert or just Bert who would take place of Pepperman. he's an artist who appreciates the world instead of himself, a freelancer also. There was only a bossfight because he was coincidentally commissioned to make a mural for the castle the same time Theo busts in. He didn't like how Theo ruined some of his works with his rush to open the door

Bert is a cream cheese instead of a cheese slime. his beret is actually a little cherry to distinguish him from the other creams.

Bert is really chill and humble, He's like Bob Ross, whenever he can, he'd try to talk about how every beauty in the world should be immortalized through a canvas

In parallel to Vigi's delusion of thinking he's a human, Bert thinks he's actually a living painting (which is completely possible for someone to be in the PT world since Pepperman was able to do it with his own art)

instead of a :{ face that Vigilante has, Bert has a :3 face

the naming formula is taken directly from Vigi

Vig E. Lantte

Cam M. Bert

There is a type of sweet cheese that's really creamy called camembert which his name is a direct reference from. Here is a picture of a camembert since it's hella cute

Camembert cheese was also suggested by Beefy, brother thank you for not allowing me to name this cunt Creamlad

Mr Lardo would be in place of Mr Stick but his motive is that he's collecting Theo's money on BEHALF of Mr Stick. They're probably the only ones who completely stay intact because there's not much canon info of Stick WITHIN the game itself I also feel he's a crossover character from his own "series" with how long McPig has him prior to PT so I just swap the character who makes the "cameo"

The toppins are still called toppins because they'd be used to decorate a cake or pie. They would be

Strawberry - Mushroom

Cream - Cheese

Cookie - Tomato

Icing (in a piping bag) - Sausage

actually I dont know yet for the pineapple but I'll get to it. I've only been figuring out this au since four days ago....

Lastly (of the characters), the Faker in this would be mechanical to match the original Noise's familiarity in robots

Fake Theo (temp name) would be engineered to be "Theo but way better" while actually being succesful with it. Faker would also sort of look like a mini figure of a ballerina. Referencing The Nutcracker

Opposite to Fake Peppino, Fake Theo is more graceful than terrifying but it's so uncanny how unnaturally pretty it is

and now some misc stuff

Title of the final level is When The Cookie Crumbles

the pepper pizza will be replaced with an extremely sweet pie and the immunity is caused by the sugar rush from it

Pizza Time is called Crunch Time

Pillar John would be a giant graham cracker since the walls are made of cookies instead of bricks. Gerome however, is a solidified bar of brownies. like a shittily made brownie that it just turned into a construction brick

Snotty is a pure white cream cheese and that's cuz he's actually made of glue. His name is Sticky

Pigs would either be bears or rabbits with how many times those two animals represented sweets

I'm gonna be clear with everyone here. I literally made this au cuz I'm going insane trying to make swap stuff with Pascal/Stefano when the au itself is so empty. sure it's colourful but it's so empty like I can't draw SS characters outside of poses

I tried like doing fanon modifications as I always do then there's so much I "modified" that at this point it's not Sugary Spire anymore. Just straight up a completely different au. The only similarity is that it's a swap au with sweets

it is what it is yknow. this is my life now. I said fuck it and went with the flow and boom, new personal au that I poured too much into

basically I blame Pascal for this

[xjulixred45x]

OKAY, I know I should work on the requests but I recently discovered the story of the game HADES and as a Greek mythology nerd that I am, I became obsessed, so I ask you to imagine this scenario that unfortunately I have not seen anywhere:

Platonic Yandere Zagreus+ Reader x son! reader

let me explain myself.

Imagine that we are between Hades 1 and Hades 2, where everything seems to be going well for Zagreus and his partner, both living in the Underworld and occasionally visiting the surface, but paying attention to their duties in general.

then they have a son! reader. Their pride and joy.

Zagreus probably thought that it would be difficult to have children without any kind of divine intervention, so seeing that his son was born alive by himself was a great relief and even pride, because it meant that he probably wouldn't have the same problem as his father, he would be freer than him.

son!reader ends up being a child who is super spoiled by his parents thanks to this, filled with affection not only from them, but from the vast majority of the beings in the Underworld, Achilles being a kind of Fun Uncle, Meg a cool teacher, Thanatos and Hypnos second father figures, etc.

even HADES loved this child.

the only problem that son! reader has is that, like his father and mother, he was very curious and stubborn. which led to the incident before he reached puberty.

It was an occasion where Zagreus and Reader were away due to a hasty visit to the surface, so son! Reader, like every child, did what he was told not to do:

get off the safe path.

From then on son! reader can die however you prefer, perhaps by the Hydra, by one of the enemies on the upper levels, by the river Styx, but my favorite excuse is that he found where the titans were and fell from the shock, dying instantly ( drawing a parallel with mythological Zagreus).

And when Zagreus and his partner find out? God, to say that they are devastated would be an understatement for their pain.

Everyone is hurt and sad about what happened, everything feels so silent now, heavy, empty...

to the point that the prayers of the beings of the Underworld reach the ears of Zeus, who in a certain way feels sorry for his brother for having lost a grandson and Zagreus for his son, who decides to apply Dionysus's typenof move, that is, leave the heart of the child in the womb of a human woman.

Zagreus is difficult to convince, he wants Zeus to do this directly with the reader, but if this is the only alternative, he will accept it. More when the mental health of both has also been seriously affected by this(Zagreus having mutilation and Self harm tendencies bc of grief and incapility of die? yep, although he'll probably be very worried if reader starts to seem like them too.)

And so the agonizing wait begins, the weeks go by, the months go by, and Zagreus and the reader are increasingly anxious and impatient. more distressed with a new day of silence at home, with each day of inactivity, with each hour that their child's room is empty...

But the wait pays off, when Zeus gives them the news that the time has finally come for them to go look for their son.

Zagreus takes off at full speed, with various bonuses given by people like Thanatos, Charon, some Olympians, hell, even his father goes easy on him.

and he begins to search quickly with the little time he has on the surface for his son, being guided by Zeus to where his son was.

When Zagreus was beginning to weaken and felt that he had come in vain, he heard it. a laugh, a small voice that he hadn't heard in a long time.

His son...alive again...

Here things are separated a little. two different scenarios.

1: SON! READER REMEMBER HIS LIFE LIKE GOD

This case is the fluffiest of all and definitely the least yandere.

when son!reader sees Zagreus he's running out to meet him, melting the godling's heart, relieved that his son is not only back in body, but in spirit.

They both return to the Underworld and receive them all with great joy, they ruffle the child's hair, give him gifts, Dionysius may even throw a party in honor of his return.

but it doesn't mean there isn't Yandere stuff.

Zagreus becomes incredibly overprotective of son! reader, to a disturbing degree, now practically does not leave him alone. the same with reader. If he is not with one, he is with another.

they make son! reader accompanies them everywhere and can only play with their supervision, only them, not anyone else. because the previous one was very effective last time.

I think the reader would use the death of son! reader like an auk to keep him fearful and thus avoid another incident. in general both being very obsessive with this new opportunity to have their son back.

Although it's not so bad, Zagreus and the reader continue to bombard him with love and affection, bringing him gifts, reading to him or telling him legends, even now they take him to the surface with them! It is within the scope of a happy ending, they could overcome their unhealthy tendencies over time...I hope.

The only way in this scenario for both of them to become yandere as is is if some person on the surface is "badly influencing" son! reader to be more independent or worse, go to the battlefield.

There Zagreus will directly get rid of said influence with the help of Thanatos.

Now, the most intense and interesting scenario.

2: SON! READER DOES NOT REMEMBER ANYTHING ABOUT HIS LIFE AS ZAGREUS'S AND READER'S SON

Imagine that you are an apparently normal child with some strange characteristics (like maybe red feet or heterochromia), living peacefully with your parents that you have known all your life as a mortal... and FROM NOWHERE the fucking GOD OF THE UNDERWORLD comes to tell you who you are HIS child and not of your PARENTS....

practically this reader.

Zagreus would believe that after having spent so much time among mortals his son has forgotten his true lineage and even finds his innocence cute with the whole thing, but they must return to their TRUE home as soon as possible.

Since he is a god, A SON OF HADES, even if the reader's parents love him, they cannot fight for him, so they give him to Zagreus.

Zagreus is overjoyed with this, reader is so confused.

because after all he does NOT know these people, he does not know this supposed father who ripped him away from his birth family, he does not know his supposed mother who greets him with tears in her eyes when they arrive at the damn Underworld.

He doesn't know any of the gods who welcome him warmly, who ruffle his hair, who call him cute nicknames, who seem to have known him all his life when they don't.

reader is feeling like some kind of glorified pet. an empty replacement. This is not his house, his HOME.

while Zagreus and reader think that their son must be feeling very shocked by all the information and come home that they simply shower him with more love. much to the child's displeasure.

If the reader continues to insist that he doesn't really remember them, Zagreus will probably dismiss it as something temporary, which is simply the adjustment after an event as traumatic as dying (he gets it, seriously! he dies every now and then, but he doesn't want to think about on what it must have been like for his son).

while reader will try with Thanatos to make him remember things from the past, show him family photos and portraits that they made before the tragedy, his room, his old toys and stories behind them. all with so much love that the reader feels uncomfortable, as if he were usurping the place of their true son.

I think the reader would be especially uncomfortable if mom!reader were also a goddess, he feels VERY intimidated by both of them, but when they show this very...vulnerable and loving side...he doesn't know what to think.

In this scenario, both Zagreus and reader are more overtly manipulative and yandere. Zagreus can use his thousands of failed attempts to try to get out of the underworld on his own so that reader doesn't even think about doing so, while reader uses the reader's death as a way to guilt trip him so he doesn't leave them.

The reader feels bad for them and their son, but is very afraid of them. More after seeing Zagreus angry.

At first they would see Reader's attempts to escape as something "cute" thinking that he was "imitating young Zagreus" and was not serious. Of course, if he ran into a shade, Zagreus would appear and take him home. simply a game.

But when they were lost for long periods of time, they had a panic attack thinking that the accident had happened again. and when Zagreus found the reader, on a higher level and with scratches, he was furious, almost killing all the beings on that level.

It was enough to solidify the reader's decision to want to leave. This man was not only terrifying, he was dangerous.

I think that in this case there would be characters like Meg, Patroclus, Odysseus, even Thanatos himself who realize the reader's discomfort around his "parents" and even become his only allies in his escape attempts.

but because they isolate him so much, so much to the point that he can only leave the house of Hades if it is with them, no one else, and they see the desire to RUN in his face. They feel compassion for him.

This is how a new story in Hades begins. As a reader you will have to face many powerful deities, shadows, and more to escape not only from the Underworld, but from your delirious new family.

but Zagreus would not be himself if he were not stubborn and persistent . I wouldn't let him run and escape easily. not this time.

Could reader do it? let the game begin.

Shares, reglogs and comments are very welcome!

What can i Say? I'm obsessed over games i will NEVER get to play :,) but at least i'll try to see gameplays.

[becauseimanicequeen]

The Timelines in 4 Minutes

Since the Olympics are finally over, and I have three episodes of 4 Minutes to go on, I thought I would spend some time trying to figure out the timelines.

I'm someone who figures out what I want to say by writing it out, so this post will most likely be me "thinking out loud" and drawing conclusions as I go, and then, at the end, I'll have a clearer view of the timelines (hopefully).

(This is most likely going to be one long-ass post, so beware.)

Let's start with some initial notes before I dive into the fun stuff.

The contents of this post may be influenced by some of my theories (pre-premiere theories, episode 1, episode 2, episode 3), and I might come up with new ones as I write this post (they will be highlighted in purple so possible readers of this mammoth post can choose to ignore them if they want, lol), but my focus is primarily on the timelines themselves and, perhaps, on the passing of time throughout the episodes as well.

As I start this post, I believe there are 3 timelines (which are subject to change as I continue to write):

The present timeline, which is what starts off both the 1st and the 2nd episodes (these are events from the future from our current vantage point).

The 4-minute timeline, which is where Great changes things (I've previously called this the OOBE timeline, since I believe Great is having an out-of-body experience and is "reliving" his past).

Then there's a possible third timeline (I've previously thought it might've been the real past, which showed us events that actually happened in the past paralleled with the 4-minute timeline) but I'm most unsure about this one, so I'll just call it the 3rd timeline until my thoughts are more clear about it.

Now... Where the hell do I start?

Time

It might be a good idea to start with the clues that there are different timelines at play and then dive deeper into the episodes to figure out what's happening.

Besides the obvious clues that Great is sent back in time when he has his moments of the 4-minute phenomenon (4MP), there are other clues that different timelines are at play.

The first clue shows up in the Korn and Tonkla scene from the 1st episode and all the way through to the scene where Korn drops Great off at his place after their family dinner.

This is where I'll be crazy about the details (but I'm a hundred percent sure they matter, especially since this whole show is about time), but if we look at Korn's watch when he arrives at Tonkla's place, it says 7:15-ish pm.

Later, when Tonkla wants a second round, it says 8:55 pm.

Then they get interrupted because Korn's dad wants him home for dinner. They have their family dinner, and then, when Korn drops Great off at his condo after dinner, Korn's watch says 7:15-ish while the clock on Great's phone says 07:13.

(Great already has issues with time, which I believe is the effect of him having a cardiac arrest at 11:00 in the present, but the time anomaly in this particular sequence is different than Great seeing 11:00 and counting when he's alone.)

This whole sequence is meant to be the same day Great hit Manee with his car. All of them (even the dad and Great's mom) are wearing the same clothes they wore when introduced throughout that very same day. Yet, the times on the visible watches and clocks tell us something strange is going on.

(Could this just be me overanalyzing the watches and clocks? Sure. But the interesting thing is that the time is still consistent in the sequence with Korn and Tonkla. It would make sense that they talk, then fuck, and then lie there butt ass naked and cuddling for a total of 1 h 40 min. And, again, considering this show is about time, I trust that the creators have been meticulous about those details, even if it means changing the time on the watches and clocks for every new take if needed.)

Considering what I wrote above, I might start calling the 3rd timeline Tonkla's timeline, because I feel like it revolves around him.

Either way, I will focus on the 4-minute timeline and the third one in particular because I don't see a possible 4th one right now (I might by the end of this post, though, lol).

The question is, then, how we can determine which scenes belong to which timelines. I will get to that further below, because first...

Let’s look at some more details I’ve noticed.

Blurry Edges

One of those details is the dreamy, blurry edges (I'm sure there's a technical term for this, but I have no idea what that might be, I'm just guessing that they're adding it in post-production, but don't quote me on that). Much of the show has a dreamy feel overall, but I'm talking about the blurry edges in particular.

I've noticed blurry edges in the following scenes:

When Great feels iffy in the elevator (ep 1)

I'm pretty sure there's some of it happening in the scene when Tyme is treating Manee, both in the ER and in the OR during the surgery (ep 1)

At the family dinner when Great's mom tells him he should go see Manee at the hospital (ep 1)

When Great feels iffy at the hospital before his second 4MP (ep 1)

When Great is sitting in Title's car talking about where View is (ep 2)

I'm not sure about this one since it's hard to tell because it's dark, but it might be used in the scene where Title beats the shit out of Dome (ep 2)

When Great brings Dome into the hospital (ep 2)

When Korn is having a meeting with Fasai and her dad (ep 2)

When Great feels iffy and has his fourth 4MP at the basketball court (ep 3)

When Win reads through Tonkla's brother's social media posts and comments, which is a memory of him doing it (ep 3)

And I'm pretty sure we're getting more of this since there were scenes in the trailer that had those blurry edges as well, for example:

The pattern I'm seeing with these scenes (if we exclude the first scene in the elevator, Korn's meeting with Fasai, and Win's memories, the latter might've had blurry edges just because it was his memory, btw) is that each scene has something to do with Great's 4MP, before the rewind and/or after the rewind.

(Perhaps the reason for the blurry edges showing up in Korn's scene is because he's the possible third character that's having an OOBE. And if this theory is true, there's a possibility that there's yet another timeline/reality/perspective present that entwines with both Tonkla's and Great's timelines.)

There are also the tilting camera shots (mostly showing up in scenes with Great), which I might get into next week as I continue to build on this post.

But, what does all this with the blurry edges mean?

I have no fucking clue.

Perhaps it's just meant to show that things aren't what they seem. Perhaps it's meant to show which characters are experiencing OOBEs (Great, Tyme, and possibly Korn)? Perhaps it's meant to show moments that are affected by Great changing them through his 4MP? Again, I have no fucking clue, yet (but it might start to get clearer as we get more episodes).

So, moving on...

Different Realities/Parallel Worlds/POVs?

There is another aspect to this whole timelines discussion I'm having with myself that I want to bring up. And that's the clues I've found that support the possibility of different realities/parallel worlds/different point-of-views. I'm not sure what to call them, yet.

So, let's dive into the moments I'm referring to and try and figure it out.

The second time Great experiences his 4MP, he goes to the ER's front desk and we're shown the nurse's actual desk where there's a clock that we're supposed to focus on because it's telling us that time will do weird shit again.

The moment Great has been sent back in time (after being in Manee's room), he's standing in the same position, looking down at the clock on the desk, and realizes it's happened again (just like when he hit Manee). However, this time, the things on the desk are different.

The time on the clock is the same, but the mirror is in a different position, 75 has turned to 74 (I'm not sure what these numbers mean), 77F has turned to 76F (which I'm guessing are Fahrenheit degrees), and the pink, blue, and yellow papers are lying on top of the folder the second time around.

If Great was sent back in time to the exact moment he was in before he went to Manee's room, the things on the desk would've been in the same place, right? So, he might not even have been sent back to the reality he was in before this 4MP happened.

Another clue is the sunrise and the sunset artworks on the wall at the hospital. We often see them by the entryway:

Then, in the 2nd episode, it looks like at least the right one is hanging outside Manee's room (which we've seen isn't anywhere near the front desk since Great had to walk around a bend to get to her room in the first episode).

Could they have more than one of those artworks in the hospital? Sure. So, take this with a grain of salt.

(Btw, I find those artworks so fascinating because sunrises are usually cooler (more blueish) while sunsets are usually warmer (more red/orangeish). But from our perspective, looking at them straight on, the warmer artwork has the sun setting in the west while the cooler artwork has the sun rising in the east. And, since the eye in left-to-right reading cultures often automatically goes from left to right, it's interesting that the sunset comes first and then the sunrise. Perhaps it's to show that the world is turned upside down now that Great is having these weird experiences. Or perhaps it's to show that the time between the sunset and sunrise will be important for Great and Tyme since Great watches Tyme pass those artworks (from sunset to sunrise) the first time he has visions of them having sex. But, I digress...)

Another set of clues is in the scene with Great and Tyme sitting on the bleachers by the basketball court and Great has another 4MP in the third episode.

The first time we see this wide shot, there are 5 people (excluding Great and Tyme):

4 of them are wearing white shirts (one with a darker cardigan), and they sit on Great's side. One wears a blue shirt and sits on Tyme's side. This is where Great asks Tyme why he didn't call before coming to the University.

As they continue to talk (and the camera shot is closer to them), you can see the top of the head of a girl walking towards the bleachers. There's also another person walking by, waving, but he's walking right past them rather than towards the bleachers.

Then, as Great thanks Tyme for the Thai tea and gets up to leave, we get this wide shot. The only difference here is that the girl who walked towards the bleachers is now sitting next to her friend. That seems logical, right?

But, then Great has his rewind, and he comes back to the moment where Tyme reminds Great to get his wound treated. Great tells Tyme about his precognition and Tyme tells Great that he will consult with one of his doctor friends. Then, as Tyme stands up to leave, we get this wide shot:

The two girls at the bottom left are in the same position but the girls two steps above and to the far left are different, the boy and the girl next to them are new, and the boy with the white shirt to the right is the same boy that sat on Great's side previously.

Coincidence?

Well... After Tyme tells Great that he can call him Tyme rather than Doctor, and Great says that they should grab something to eat after he gets his wound treated, we get this shot:

Now we're back to the original two girls to the left, there are new boys wearing black on the bottom left, and the boy in blue is back again. That's a lot of moving around in such a short time.

The only things that stay consistent in all of the shots are the bags (except for one of them) and bottles.

So, what's going on? Is this another one of those things that happened at the hospital where Great was sent back to a reality where things were different from the reality he was in before the 4MP?

Is the show giving us different perspectives? For example, Great's perspective before his 4MP, Tyme's perspective when he says he'll talk to Den, and Great's perspective again when Tyme has left? That could work for the hospital example as well since it was from Great’s perspective before the 4MP but turned into Tyme’s after the 4MP as he asked the nurse at the front desk who the guy that bumped into him was.

Or is the show just underlining how strange everything is during the 4-minute timeline (and Great's possible OOBE)?

Well, the latter might not be it because clues like this don't just show up when Great is around.

In the first episode when Korn comes to Tonkla's place, Tonkla's laptop shows he has something blue and yellow on his screen:

Then the screen is black as if it's been turned off:

Later, when it cuts to them lying naked on the sofa, it's just white:

Also, notice how the small spotlight behind the desk is positioned differently and pointing in another direction on the desk than in the first image above.

Could it be that Tonkla simply used the laptop and moved the lamp between them having sex and lying there? Sure. Again, if we look at Korn's watch from the beginning of this whole sequence (7:15-ish pm) to when Tonkla wants a second round (8:55 pm), we know he had 1 h 40 min to rearrange things and do stuff on that laptop.

But, you know, unless the house is on fire, who would move from that spot on top their sugar daddy who is lying there deliciously naked? And especially to do some stuff on a laptop? Fuck technology (the not-so-good kind of fuck) and fuck your sugar daddy instead (the deliciously bad kind of fuck). We all know Tonkla wants to. But, I digress...

Take this detail with a grain of salt if you want to (or a whole fistful). For me, though, this shows that there's a possibility that changes and inconsistencies like this aren't just happening around Great. And (to my crazy mind, at least), that it might be two timelines showing up throughout this particular sequence between Korn and Tonkla.

24 Hour vs AM/PM Clock Settings

And on the topic of inconsistencies... Another thing I want to point out is the inconsistencies with the digital clocks when it comes to them being 24-hour clocks or set to the am/pm thing.

The hospital seems to have a 24-hour setting in some cases:

But not in others:

This could be in the morning, of course, and the darkness outside Manee's window might just be because of the thunder/lightning storm (but I still think it's night rather than morning).

And then we also have Great (who, to be fair, has a special relationship to time in this show), who sees 11:00/11:02 both in the morning and at night:

And the am/pm thing is on his phone when Korn drops him off:

Even though his phone seems to have the 24-hour setting:

More than once:

But, again, Great clearly has issues with time and clocks/watches. So, this might just be a way to show how confusing it is to him.

But, what if it isn't? What if it's an indication that several realities are entwining? (Okay, I feel like I'm going with the term "realities" when it comes to this.)

My Timelines So Far

So, what are my conclusions after watching the first 3 episodes?

At this point, I think there are 3 timelines:

The present timeline.

The 4-minute timeline.

The real past/Tonkla's timeline (which is meant to show us the real past events that happened, most of it from Tonkla's perspective).

Having Tonkla's timeline be the real past is possible considering the inconsistencies in time during the Korn and Tonkla scene and then the Korn and Great scene in the 1st episode.

And before someone says this doesn't make sense because of all the missed calls Korn has (if anyone is still reading this, lol)... Well, that's because Korn exists in both timelines and the scene when he looks at the missed calls in that bathroom in the 3rd episode:

Could be the 4-minute timeline rather than Tonkla's timeline (the real past). That could make sense because all we've seen of Tonkla since Korn told him off over the phone is him waiting by his phone for Korn to call.

We never saw Tonkla call Korn again after being told off.

On the flip side, if Korn is in the real past when he looks at those missed calls in episode 3, it would make sense that when he wants to call Tonkla while he's waiting for Great at the bar (in the 4-minute timeline), the icons on the top right of his phone are different from the phone he looked at in the bathroom:

(Am I getting too crazy about this? Yes. Do I care? No, because it's fun.)

Could he be using different phones? Yes. Could those icons change depending on where he is and what settings he's using? Sure (I'm not familiar with Samsung phones so I have no idea what most of those icons mean). But it could also mean that we're seeing Korn in different timelines in these two scenes, which makes it possible for Tonkla's timeline to show us the real past.

(I personally prefer the option that the scene with Korn looking at the missed calls is from Tonkla's timeline (the real past) while Korn almost calling Tonkla in the bar, and then smiling at his phone as he's going to the bathroom, is from the 4-minute timeline where Tonkla's brother (who I believe is Dome) hasn't been killed.)

Also, I think showing us the real past is a smart way to show us what leads up to Tonkla beating the shit out of someone.

(I believe that scene is from the real timeline, and whoever he's beating with that rock, might have an effect on the things that are happening right now. I'm not sure what kind of effect, though. Perhaps it's a possible third person experiencing an OOBE and "living" in the 4-minute timeline. Perhaps Great is going through this OOBE to prevent that murder from happening after he wakes up (if he ever does). I'm not sure at this point.)

So, that's where I'm at with the timelines after 3 episodes.

And, when it comes to the inconsistencies in certain scenes, the easy answer is that they are just meant to show that this whole 4-minute timeline is an inconsistent mess of (what I believe to be) Great's OOBE.

But, I would personally find it more interesting if these inconsistencies (like all the people around Great and Tyme changing in that scene at the basketball court) are evidence that there is more than one character experiencing an OOBE and that the inconsistencies shown are there because the characters have different perspectives of the events happening.

Now, I had planned to make a flowchart of the scenes in each episode divided into the three different timelines I've written about above. But, I want to get this post out before the 4th episode drops tomorrow, and I just don't have time to make the flowchart before that (or enough images left in this post to fit something like a flowchart in it before I hit the pesky limit). So I'll wait with that chart until next week instead (when I'll continue to build on this post in a reblog).

Waiting to create and post the flowchart until after the new episode tomorrow also gives me another episode to nerd out about. It's a win-win for me.

[ranticore]

About the kid raised by harpies, we have a rough story to explain how they ended up there (it got a lot longer than I thought it would omg): A pen has her eggs stolen, she is able to see the man who steals them but he ends up escaping. This event causes her partner to completely lose faith in their king, believing she could do a better job, and she eventually turns into a king herself, defeating him and taking the pen as a tiercel. As the pen has always been very active, and could barely keep herself still in the tiercel nest at all, they make a deal: she will be allowed to patrol the areas around the eyrie, as long as she's never far enough to disappear from view, never hunts and immediately comes back at any signs of danger. One day, as she's observing a human caravan passing by, she sees a very familiar face… With him, a woman, and in her arms a baby, who they lovingly look at. She follows the caravan further and further, waiting, watching… when an opportunity arises, she snatches the child and flies away with it, back to the eyrie. Her king is incredibly worried when she's back, looking for any sign of injury. What happened? What were you thinking? What would I do if you- wait what is that She explains what happened, and argues that it's only fair that she keeps the human's child after he took hers. She wouldn't be doing anything vital anyways, as it would only take away her time and resources from the flock, but it would be a great distraction from her boredom, keeping her closer to the eyrie. Besides, what other flock has a human in its midst? What a novelty for him to show off! His flock is so prosperous that they can not only keep tiercels but also raise a being from a completely different species just for the fun of it! In the end, he gives in, letting his beloved keep her "hobby project". btw we've thought of calling the kid "Five Talons", since, well, five fingers and all (also it sounds cooler than Five Digits). The first name we came up with was "Stolen Goods" though, I really liked it but friend noticed that it sounded a bit mean dskmfd What do you think? :] I would appreciate some help with naming the pen and the king as well... I'm almost done drawing the first one, may I send you the drawing through a message?

Ahh so sorry it took me a while to get to this!! Yes of course you can dm me any time and I can help with the naming if you like

This story is so funny honestly I'm completely on board... I especially like the angle of "well look, isn't it kind of a flex to raise a human child as well as we're doing?" because that's really. That's just how they think all the time, you always have to be showing off it's just like the law.

Also I'm thinking of this sort of almost parent trap (?) type situation going on here where both stolen babies are sort of being raised in parallel in a sense, by parents who have had their true child stolen from them, so I wonder what types of experiences they may have in common (and whether they might ever be able to meet and bond over it? Like here's a sibling you never knew you had... or instead would they hold the other responsible for their own situation, the hurt of their parents, etc. Much to consider!!!).

Bearing in mind that a stolen harpy is likely not going to a very prestigious town flock, otherwise there'd be no need to resort to theft, it would likely be in more of a similar situation to the human kid than you'd think - raised entirely by a different species, lacking a 'role model' of a sort, potentially not even knowing that other harpies/humans exist, and thinking of themselves as perhaps uniquely weird (in either a positive OR negative sense, i could see both). The difference being that the baby harpy would be raised into servitude, and the baby human is being raised to show off. Both ways are dehumanising (or deharpyising?) in different directions, obviously one has it worse but being placed on a pedestal of your adoptive parent's rage and pain can't be fun either.

[generalsdiary]

listen I might sound crazy but you know how Aventurine would spend all of his money on his family were they alive? like they grew up poor- worse than poor, and he is always gambling yes- but he is also insanely rich. you just know he'd shower them in money and buy everything for them and that credits today have little to no meaning to him because he has gotten them too late. it wasn't "fast enough" to save them, to ease their lives. and you just know he regrets it, but still hoards more credits, gambling, earning, wasting, etc.

now allow me to draw a parallel to a character in gi most of the fandom doesn't like. dori. LET ME SPEAK- dori's sister died (in her arms) from an illness because her family didn't have enough money to buy the herbs prescribed for her sister's treatment and that is why Dori ends up cherishing every mora/money, turns in a mora hungry capitalist powerhouse and makes everything about her; just money. because she couldn't help her sibling when it mattered. also the "limitless mora" for her comes from receiving a bunch of items from Alice (Klee's mom) - they made a business deal, etc, just a detail.

and it is interesting how most of the fandom dislikes dori so much (meta wise I get it, and also some other povs), when the parallel to aventurine is a straight line and he is loved and liked by so many (granted, I love riney). no amount of mora/credits can bring their family member(s) back or fix what happened, yet they stay in it, hoarding more, be it due to our boy's luck, or Dori's deal and persistence. I know many ppl draw his line to Kaveh, but from this pov it is screaming Dori.

and yh his story is more tragic- but we are talking money rn ppl- stay focused;

here is where their characters differ in the money area. with how little regard he has towards the money, Aventurine, our Kakavasha is so kind, so so kind. he gives out freely, he doesn't give two shits while sending money to the TB (it is worth mentioning that he thinks he also HAS to do it, and that gifts and things of high material value are most appreciated, ex. the gifts the TB receives after become the captain of the ship in penacony. he sadly has a view of it that everyone needs to be given something in return, truly struggling with forming real friendships/relationships except with the TB and Ratio- which I'd love to go more into on another analysis), he openly shares his money to whomever- and in his contrast, dori would probably rather jump off a cliff than give a single gold mora coin to... well, anyone.

both have been through such tragedy and turned rich later on through various means- when it technically no longer matters to them as much as it could've mattered before- and to see one be indifferent towards it/see it as a means to an end & what ppl respond well to vs. the other be stingy to the point she is hurting people while doing it and purposefully putting them in debt (I hate you for what you did to Kaveh TWICE, dori.), makes a really interesting parallel made by hoyo ngl. thoughts?

[jennamoran]

The Far Roofs: Systems

Hi!

Today I’m going to talk a little bit more about my forthcoming RPG, the Far Roofs. More specifically, I want to give a general overview of its game mechanics!

So the idea that first started the Far Roofs on the road to being its own game came out of me thinking a lot about what large projects feel like.

I was in one of those moods where I felt like the important thing in an RPG system was the parallel between that system and real-world experience. Where I felt like the key to art was always thinking about the end goal, or at least a local goal, as one did the work; and, the key to design was symmetry between the goals and methods, the means and ends.

I don't always feel that way, but it's how I work when I'm feeling both ambitious and technical.

So what I wanted to do was come up with an RPG mechanic that was really like the thing it was simulating:

Finding answers. Solving problems. Doing big things.

And it struck me that what that felt like, really, was a bit like ...

You get pieces over time. You wiggle them around. You try to fit them together. Sometimes, they fit together into larger pieces and then eventually a whole. Sometimes you just collect them and wiggle them around until suddenly there's an insight, an oh!, and you now know everything works.

The ideal thing to do here would probably be having a bag of widgets that can fit together in different ways---not as universally as Legos or whatever, but, like, gears and connectors and springs and motors and whatever. If I were going to be building a computer game I would probably think along those lines, anyway. You'd go to your screen of bits and bobs and move them around with your mouse until it hooked together into something that you liked.

... that's not really feasible for a tabletop RPG, though, at least, not with my typical financial resources. I could probably swing making that kind of thing, finding a 3d printing or woodworking partner or something to make the pieces, for the final kickstarter, but I don't have the resources to make a bunch of different physical object sets over time while I'm playtesting.

So the way I decided that I could implement this was by drawing letter tiles.

That I could do a system where you'd draw letter tiles ... not constantly, not specifically when you were working, but over time; in the moments, most of all, that could give you insight or progress.

Then, at some point, you'd have enough of them.

You'd see a word.

That word'd be your answer.

... not necessarily the word itself, but, like, what the word means to you and what the answer means to you, those would be the same.

The word would be a symbol for the answer that you've found, as a player and a character.

(The leftover letters would then stick around in your hand, bits of thought and experience that didn't directly lead to a solution there, but might help with something else later on.)

Anyway, I figured that this basic idea was feasible because, like, lots of people own Scrabble sets. Even if you don't, they're easier to find than sets of dice!

For a short indie game focused on just that this would probably have been enough of a mechanic all on its own. For a large release, though, the game needed more.

After thinking about it I decided that what it wanted was two more core resolution systems:

One, for stuff like, say ... kickstarter results ... where you're more interested in "how well did this do?" or "how good of an answer is this?" than in whether those results better fit AXLOTL or TEXTUAL. For this, I added cards, which you draw like letter tiles and combine into poker hands. A face card is probably enough for a baseline success, a pair of Kings would make the results rather exciting, and a royal flush result would smash records.

The other core system was for like ... everyday stuff. For starting a campfire or jumping a gap. That, by established RPG tradition, would use dice.

...

I guess technically it didn't have to; I mean, like, most of my games have been diceless, and in fact we've gotten to a point in the hobby where that's just "sort of unusual" instead of actually rare.

But, like, I like dice. I do. If I don't use them often, it's because I don't like the empty page of where to start in the first place building a bespoke diced system when I have so many good diceless systems right there.

... this time, though, I decided to just go for it.

--

The Dice System

So a long, long time ago I was working on a game called the Weapons of the Gods RPG. Eos Press had brought me in to do the setting, and somewhere in the middle of that endeavor, the game lost its system.

I only ever heard Eos' side of this, and these days I tend to take Eos' claims with a grain of salt ... but, my best guess is that all this stuff did happen, just, with a little more context that I don't and might not ever know?

Anyway, as best as I remember, the first writer they had doing their system quit midway through development. So they brought in a newer team to do the system, and halfway through that the team decided they'd have more fun using the system for their own game, and instead wrote up a quick alternate system for Weapons of the Gods to use.

This would have been fine if the alternate system were any good, but it was ... pretty obviously a quick kludge. It was ...

I think the best word for it would be "bad."

I don't even like the system they took away to be their own game, but at least I could believe that it was constructed with love. It was janky but like in a heartfelt way.

The replacement system was more the kind of thing where if you stepped in it you'd need a new pair of shoes.

It upset me.

It upset me, and so, full wroth, I decided to write a system to use for the game.

Now, I'd never done a diced system before at that point. My only solo game had been Nobilis. So I took a bunch of dice and started rolling them, to see ... like ... what the most fun way of reading them was.

Where I landed, ultimately, was looking for matches.

The core system for Weapons of the Gods was basically, roll some number of d10s, and if you got 3 4s, that was a 34. If you got 2 9s, that was a 29. If your best die was a 7 and you had no pairs at all, you got 1 7. 17.

It didn't have any really amazing statistical properties, but the act of rolling was fun. It was rhythmic, you know, you'd see 3 4s and putting them together into 34 was a tiny tiny dopamine shot at the cost of basically zero brain effort. It was pattern recognition, which the brain tends to enjoy.

I mean, obviously, it would pall in a few minutes if you just sat there rolling the dice for no reason ... but, as far as dice rolling goes, it was fun.

So when I went to do an optional diced system for the Chuubo's Marvelous Wish-Granting Engine RPG, years later, to post here on tumblr ... I already knew what would make that roll fun. That is, rolling a handful of dice and looking for matches.

What about making it even more fun?

... well, critical results are fun, so what about adding them and aiming to have a lot of them, though still like rare enough to surprise?

It made sense to me to call no matches at all a critical failure, and a triple a critical success. So I started fiddling with dice pool size to get the numbers where I wanted them.

I'm reconstructing a bit at this point, but I imagine that I hit 6d10 and was like: "these are roughly the right odds, but this is one too many dice to look at quickly on the table, and I don't like that critical failure would be a bit more common than crit success."

So after some wrestling with things I wound up with a dice pool of 5d6, which is the dice pool I'm still using today.

If you roll 5d6, you'll probably get a pair. But now and then, you'll get a triple (or more!) My combinatorics is rusty, so I might have missed a case, but, like ... 17% of the time, triples, quadruples, or quintuples? And around 9% chance, for no matches at all?

I think I was probably looking for 15% and 10%, that those were likely my optimum, but ... well, 5d6 comes pretty close. Roughly 25% total was about as far as I thought I could push critical results while still having them feel kind or rare. Like ...

If I'm rolling a d20 in a D&D-like system, and if I'm going to succeed on an 18+, that's around when success is exciting, right? Maybe 17+, though that's pushing it? So we want to fall in the 15-20% range for a "special good roll." And people have been playing for a very long time now with the 5% chance of a "1" as a "special bad roll," and that seemed fine, so, like, 20-25% chance total is good.

And like ...

People talk a lot about Rolemaster crit fail tables in my vicinity, and complain about the whiff fests you see in some games where you keep rolling and rolling and nothing good or bad actually happens, and so I was naturally drawn to pushing crit failure odds a bit higher than you see in a d20-type game.

Now, one way people in indie circles tend to address "whiff fests" is by rethinking the whole dice-rolling ... paradigm ... so you never whiff; setting things up, in short, so that every roll means something, and every success and failure mean something too.

It's a leaner, richer way of doing things than you see in, say, D&D.

... I just didn't feel like it, here, because the whole point of things was to make dice rolling fun. I wanted people coming out of traditional games to be able to just pick up the dice and say "I'm rolling for this!" because the roll would be fun. Because consulting the dice oracle here, would be fun.

So in the end, that was the heart of it:

A 5d6 roll, focusing on the ease of counting matches and the high but not exorbitant frequency of special results.

But at the same time ...

I'm indie enough that I do really like rolls where, you know, every outcome is meaningful. Where you roll, and there's never a "whiff," just a set of possible meaningful outcomes.

A lot of the time, where I'm leaning into "rolls are fun, go ahead and roll," what it means to succeed, to fail, to crit, all that's up to the group, and sometimes it'll be unsatisfying. Other times, you'll crit succeed or crit fail and the GM will give you basically the exact same result as you'd have gotten on a regular success or failure, just, you know, jazzing up the description a bit with more narrative weight.

But I did manage to pull out about a third of the rolls you'll wind up actually making and assign strong mechanical and narrative weight to each outcome. Where what you were doing was well enough defined in the system that I could add some real meat to those crits, and even regular success and regular failure.

... though that's a story, I think, to be told some other time. ^_^