#but also about so many many games and media and such

[identityarchitect]

there are many things you can do with ocs! some ocs are simply not suited to complex plots: some worlds are better for short stories centred around a one-off character. some ocs are good for dating sims or esoteric psychological horror rpgmaker games or point and click adventure games or fucking. tetris remakes idfk

you can also make songs about your ocs! or interactive multimedia webseries (link rot is a great example)! or you can make analysis posts of media that doesnt exist and gush about the parallels between smeep and the other guy (those are two ocs of mine and i go crazyinsane about them)! or you can make up plots of musicals! you can make a conlang! you can make items of clothing inspired by your oc! you can make a fake wikipedia page!

and like ,,, what youre describing is, to my understanding, the job of a director. you arent the person doing the lighting or the makeup or costuming or even a ton of the writing, but you are the person in control of the artistic direction. and, not to say that directors just dont do anything because they definitely do and pitching your ideas is a doozy but "i sit around and think about my guys while other people make a show about them" is not an unreachable goal

the current look-at-able stuff ive made for my ocs are in-canon explanations of fundamental parts of the lore. i think its a fun way to impart information!

my point is that you should look at your options for making art because there is so much more than writing or drawing. take my hand. we will install rpgmaker together

making up oc lore: fuck yes a little guy just for me

writing down oc lore: what the fuck

[homestuckreplay]

Today Is A Gift, That’s Why They Call It The Present: Who Is Jade Harley?

Character Deep Dive 4 – 11/26/2009

Jade Harley, the silliest and most unknowable of Homestuck characters. Jade’s first pesterlog appearance was way back on page 110, and her existence and involvement in forces beyond our real world comprehension has been teased ever since – but it took hundreds of pages and months of real time waiting for Jade to finally become a point of view character. Just like with Rose and Dave, what we learn from Jade’s pesterlogs isn’t a complete picture of who she is. Jade is excitable, bubbly and supportive in her conversations, aware that she’s seen as mysterious and working to cultivate that. As a point of view character it’s harder for Jade to maintain her own mystery, and we see a fuller spectrum of her emotions, as well as a picture of her day to day life. In many ways Jade’s life is easier than her friends’, but she has a few of her own challenges.

Organized by the list of Jade’s interests given on page 789, here’s a discussion of what we learn about Jade during the early part of act 3. It's about 5k words below the cut and only covers up to page 916 of Homestuck.

1 - You are an avid follower of CARTOON SHOWS OF CONSIDERABLE NOSTALGIC APPEAL.

Jade doesn’t spend a lot of time on this interest, but she surrounds herself in it by falling into her plushy pile before she uses her computer. She has posters on her walls for Squiddles and Green Slime Ghost, both of which were invented internally to Homestuck, unlike John whose bedroom posters are all for real world media. Jade also has a large number of Squiddle ‘Tangle Buddies’, and a squiddle and (blue) slime ghost are symbol options for her shirt.

Owning so much merchandise, Jade clearly isn’t embarrassed by this interest. As Rose’s shirt is a doctored Squiddle, Rose may have previously shared this interest, but moved on from it – Jade describes these shows as ‘nostalgic’ on both page 789 and 790, so she’s trying to hold onto these articles of her youth. They also give the sense of an eclectic taste; as they’re unfamiliar to the reader and no wider fandom is established for them, they feel like cartoons found only on budget TV channels or dusty corners of the internet. MS Paint Adventures being the only modern media we see her consume only enhances this.

Jade’s nostalgic media extends beyond board games, as her fetch modus options are common childhood board games. As well as retaining these childlike interests and playfulness, Jade is described by the narrative as ‘silly’ – a silly girl with silly antics and a silly name (p.760), a silly flute refrain (p.769), an awfully silly idea (p.774), and a silly girl with silly fortune telling knickknacks (p.802). As well as setting up a contrast between Dave (regularly described as ‘cool’, which by some logic is an antonym of ‘silly’), this feels like it diminishes her importance, casting her actions as entertaining but ultimately meaningless. Between pages 838 and 860, the story flips back and forth between the peril of Rose’s imminent meteors, and Jade whose only goal is to feed her pet.

There’s a surface impression that life is easy for Jade. She has a large, comfortable house, a sylladex she’s confident with, a guardian who she doesn’t hate and isn’t outright cruel, toys, space, safety from danger, mastery over all her own hobbies. From day one, John had to struggle with sylladex mechanics and retrieving his own arms, but Jade is unaffected even by the inconvenience of stairs, and is later shown as having more knowledge than the player. It almost feels like she’s spoiled by the narrator with this easier existence, which isn’t necessarily good for her, just like being spoiled by a parent might not be good for a kid. Ultimately, if there’s no sense that Jade needs to learn or overcome anything, she becomes less compelling – so I’m invested in noticing where she has room for growth.

2 - You have a profound zeal for marvelous and fantastical FAUNA OF AN ANTHROPOMORPHOLOGICAL PERSUASION.

In addition to her cartoon show posters, Jade has two pieces of furry art on her walls, plus a picture of Sweet Bro and Hella Jeff as furries. This of course was a gift from Dave, the friend Jade sometimes discusses her furry tendencies with. These plus her FurAffinity account show an enjoyment of the furry aesthetic, but her relationship with being a furry is complicated, and something she adopts far less uncritically than her other interests.

Jade insists that she does not have a fursuit as they are ‘raggedy synthetic tufty piece[s] of crap’ and that dressing up like an animal ‘seems ridiculous’ (p.802). We don’t learn whether Jade has made a fursona or makes furry art of her own (vampireprincess007, the FurAffinity account Jade is looking at on page 834, doesn’t seem like a username she’d pick), but we get a sense of the ways Jade distances herself from the furry community. She thinks of combining the ‘finest qualities’ of humans and animals, wishing for ears and a ‘proud snout’ to ‘assist… in the hunt’. She also seeks a ‘more visceral sapience’ that is ‘untouched by the concerns and burdens of the upright’ (p.797). When she imagines being an animal, she wants to ‘run wild’ or ‘purr and frolic’ (p.802).

Jade collects Manthro Chaps, dolls with assortments of human and animal body parts who may have hands and flippers, snouts and mustaches. They have human names and attend events such as balls, need vaccinations, and take care of bodily needs in animalistic ways. Much like Jade’s desire for animal senses and experiences, Jade’s Manthro Chaps are a true physical merging of the human and animal. Jade does not want to wear the trappings of an animal if she can’t also have that biological change, and if she can’t develop that instinctive behavior of eating bugs, hunting, and losing the language and inhibitions of human existence.

Jade has a pet named Becquerel who is also her ‘best friend’ (p.791), and while we don’t know his species, it’s possible that spending so much time with him has fed into the desire to live like him. He also may not be a regular animal – both Dave and the narrator refer to him as a ‘devilbeast’ (p.382, 800) and he eats his steak not just well cooked, but irradiated. This could also be why her rifle’s ‘cross-hairs would never settle on an innocent creature’ (p.790). Jade is likely an animal lover in general, as she has this deep and considered understanding of how it must feel to be a different creature, and is very in touch with the natural world.

3 - You have an uncanny knack for NUCLEAR PHYSICS, and not infrequently can be found dabbling in RATHER ADVANCED GADGETRY.

Jade’s forays into gadgetry are all over her room, and she’s downplaying her own skill with ‘rather’. So far we know about Jade’s Wardrobifier, Atomic/Electic Bass with portable amp, Sonar boxes transmitting her music into the atrium, Cookalizer, Refrigerator, and Lunchtop. Her house also has several Transportalizers, although their designer is unknown. Jade’s orb and spire bed, the atomic cabinet beneath her room, the strange flat window device whose design she borrowed from her grandfather, and a host of other objects on her gadgets table are unknowns but it’s clear that just like Rose with her knitting, Jade is prolific, dedicated and puts a lot of time into her hobby.

Jade doesn’t feel constrained in the design of her technology. Sometimes she uses squares and cubes like those in the Skaianet labs, sometimes she’ll play on common designs by giving a refrigerator a rotary interface or adding extra heat settings to a cookalizer, and sometimes she’ll invent something with no relation to existing tech. Jade hits all the design notes – smooth and sleek vs greebled, futuristic vs retro vs encased in a lunchbox – so she’s willing to try different things.

We learn that for Jade, ‘experimentation is not a particularly exact science, and [she] lean[s] heavily on SHARP INTUITION for consistently and eerily optimal results’ (p.790), so she’s basically living the scientist’s dream of fucking around without having to find out. It’s a lot easier to take risks and experiment with an intuition that guarantees success. To what extent does Jade understand the theoretical principles of nuclear physics? When she can’t get something to work, like right now with the window device, what’s her troubleshooting process like? Is she used to working through this emotionally? Jade did claim to have worked on a present for John ‘for years!!!!’ (p.442) so I think that even if Jade has an intuitive understanding of design, she still has to do the work to put these gadgets together, which can be time consuming and technically difficult.

Jade’s interest in gadgetry is tied to an interest in music. Like her friends she is highly proficient in an instrument, but Jade’s is ‘heavily customized to accommodate a high level of musical virtuosity’ (p.821) – its ‘advanced setting’ has two sets of strings and three keyboards, which Jade can apparently handle from a musical perspective. I think this is something she’s worked at, because when she attempts to play the flute, the narration comments, ‘Maybe you should try playing an instrument you actually know how to play instead’ (p.770). If Jade’s music was entirely based on her intuition, picking up the flute would be easy. She’s also limited by her own physical form; the advanced bass cannot be played ‘in person’ (p.821), so only having two arms and five foot something of height feels like a bigger limitation in this hobby than her brain.

Despite being generally competent with technology, Jade is surprised by its misuse, shocked and angry when carcinoGeneticist trolls her despite her blocking them and logging out. Jade is not a gamer, knowing Sburb by reputation but not by name, and saying that John and Dave are ‘way more into all that stuff than i am!!!!’ (p.442), and therefore she’s not immersed in the gamer culture that leads to cruel online behavior. It’s nice to think that Jade, despite being an internet user, has escaped the cynicism and hatred that is common online and has found positive spaces for herself.

Jade is a proficient sylladex user, easily mastering technologies she didn’t make too. While John struggles with remembering how many cards he has free, Rose doesn’t realize she can pull the leave instead of the root, and Dave has to use Y as a consonant to get the hash map to work, Jade is educating the player on correct sylladex management and can perfectly guess the memory modus on the first try. But this has limitations, too. Jade captchalogues a pumpkin on page 778 and by page 785 it’s vanished, so Jade’s sylladex isn’t a safe storage place. In fact, her house is a hotspot for other people’s strange technology as well as her own, which I’ll discuss more later. Additionally, there are some problems that Jade can’t solve with technology. Any issues with her grandfather, for example, or with her remote location. Jade sends a parcel several months before its delivery date (p.442) and receives mail via hot air balloon (p.822) but for some reason has never invented a disappearifier that could instantly take her to a friend’s house. Despite her many talents, she remains stuck at home.

4 - You enjoy sporadic fits of NARCOLEPSY;

Jade is sleeping when we first meet her, so this is technically the first interest we see her engaging in. And the word ‘enjoy’ is crucial here. Most people do not enjoy their medical conditions, and regularly, uncontrollably dropping off to sleep can cause serious problems, but Jade treats this like many intentional nappers do, slumbering ‘peacefully’ such that it’s ‘a shame to wake her’ (p.760).

Jade doesn’t know the details of her condition. When she wakes, it’s sudden and ‘as usual, [she] ha[s] no recollection of having falling asleep’ (p.768) and in a conversation with Dave, he asks ‘do you even know if you are [asleep]’ (p.829). Jade is driven by impulse and intuition, and doesn’t question those impulses much. In a more extreme example, she doesn’t question her sudden falling asleep in inconvenient circumstances, but figures out how to work around it.

When John takes a rooftop nap between battles, Jade’s silhouette appears in his dreams (p.644) and when he wakes, she tells him ‘i really think you need to wake up first!… not literally, well ok maybe KINDA literally!!’ Jade’s connection to sleep goes beyond her narcolepsy, and she places importance on sleeping, waking, and possibly the balance between the two. Jade is defined by her faith in a higher power, so she probably trusts this same power with deciding when she should move between sleeping and waking. It’s also likely that Jade’s orb and spire bed has something to do with this interest.

It’s not possible for Jade to be woken with the player’s cursor (p.762) but it is possible to both put her to sleep and wake her up while she’s playing the flute (p.769) by pressing the Z key – which highlights how quickly she sleeps and wakes, because any other button has her bouncing right back up.

Sleep is crucial for health and relaxation; gardening and gadgetry both involve some manual labor, and Jade valuing sleep ties in with her enjoyment of nostalgic television, lying down in a pile of dolls, and carrying fresh fruits and vegetables. Despite her exterior silliness and forgetfulness, there’s a strong sense that Jade has internalized her grandfather’s lectures, and knows how to take care of herself and her pet – she cares about health and safety, and even though she programmed an ‘explosion’ setting on her cookalizer, she refuses to use it. Having such state of the art technology helps with taking care of herself, but it still takes work, and by cooking steak for Bec Jade is the only kid who’s helping with personal and household maintenance. So, Jade’s enjoyment of sleep stands in for a more general understanding of daily necessities.

5 - your love of GARDENING transcends the glass confines of your ATRIUM;

Long foreshadowed by her chumhandle, when we caught our first glimpse of Jade on page 665, she was already surrounded by her plants. Jade grows a variety of fruits, flowers and vegetables, and doesn’t have much concern for their typical growth conditions. Peas, for example, grow best in a cooler climate, while squash likes it hot and humid, but Jade has these next to each other. Jade’s vegetables are best suited for temperate climates while her citrus fruits prefer things more tropical. Some quirk of Jade’s atrium or gardening methods means she doesn’t have to worry about this.

Gardening is another hobby Jade has tied to her gadgetry. When Jade plays her bass, it transmits sonar into her garden atrium, causing the plants to grow rapidly. It’s possible that these speakers are amplifiers for Skaian technology, and turn Jade’s house into a beacon, and a target for appearifying pumpkins. Some of Jade’s plants are ordinary, but her fruits have faces and are able to bounce around on the table (p.812). This is uncommon for us, but to Jade these are just regular fruits. This could be another effect of the sonar, or more generally, of the environmental conditions on the island. We know that volcanic activity creates a geothermal power source on Jade’s island (p.801) and can guess that mystic activity surrounding the frog statue creates a similar Skaian power source. And that places her as the (0,0) coordinate that all Skaian technology gravitates towards, and is maybe even the ‘default location’ for technology such as appearifiers.

Jade has plants in her bedroom, but she also has a large, four-wing garden atrium dedicated to this passion (p.780). It’s another big difference between Jade and the other kids that Jade’s interests are allowed to spill outside of her room. Her grandfather does control the aesthetic of most of the house, but giving Jade the garden atrium leads to a slightly more balanced relationship between the two.

Gardening as a hobby is something that requires regular input, something where results can’t always be seen right away, something imprecise as it involves living things that will behave surprisingly, something very messy, and something historic, engaged in by humans for millennia. Much like sleep, it links to the idea of routine, as plants often need watering on a set schedule. Plants are a way of providing food; especially on a tiny island where packages take months to deliver, Jade’s gardening must play a big part in keeping her healthy and alive, so again this ties into Jade’s responsibility for herself. Jade won’t hunt animals so this is her way of being a provider.

Jade is also connected to the messier, more unpleasant sides of nature. The player temporarily names her ‘Farmstink’, she will happily ‘squeal like a piglet and fertilize some plants’ (p.775), she’s delighted by the Manthro Chaps with their slop troughs, and she cares for a pet, which is always messy business. Clearly Jade isn’t afraid of getting her hands dirty, and understands the messy realities of giving life.

6 - and you are at times prone to patterns of PRECOGNITIVE PROGNOSTICATION.

Seemingly affecting all aspects of her day to day existence, Jade has spent her whole life tapped into a source of esoteric knowledge. Broadly, this gives her the ability to know certain events in the future, intuitively understand various games and technology, and possibly to understand the fourth wall and her place within a story. This ‘interest’ in prognostication is really more of an uncontrollable habit, and subsumes all Jade’s other interests, as it alters the experience of them so much.

Jade dispenses knowledge to her friends through pesterlogs, with varying levels of specificity. Jade has clearly given Rose a lot of information on their upcoming Sburb session – the fact that John and Rose begin play first, that it will happen on April 13, 2009, and that the game has the potential to revive the dead – and Rose describes her predictions as ‘frighteningly accurate’ (p.838). So she’s very honest with Rose, but maybe less so with John, as she gives him a vague ‘maybe this is your destiny’ (p.293) and asks him if he’s received a package when she knows he hasn’t. So not only does Jade have knowledge her friends don’t, but she’s careful about when to share it and with who.

Currently a lot of Jade’s visions involve gifts, which is funny because they don’t only relate to the present. In a flashback, Jade asks Rose about a different package, but gives Rose a future tip instead of sending her something – sharing her gift (as in talent) in place of a gift (as in present). Jade uses colorful reminders on her fingers to remember her own predictions, which is another limitation on her powers – predicting the future is great but it’s important to remember what’s been predicted, at the time it will be relevant. If Jade lost these reminders somehow, she might struggle to make sense of her predictions.

Jade’s visions appear specific in their timing and detail – at the end of conversations, Jade tells other people when they have to go, and sometimes tells them the reason (p.652, 838) although it’s uncertain whether she makes these predictions in advance or in the moment. Jade doesn’t only know that her friends will play Sburb, she also knows that Rose will lose her internet connection and that John will battle a pair of ogres – minutiae that are only available to the reader. And her predictions can understand people’s interiority, they’re not just visions from an outside observer - ‘you will have your questions answered, but they will be the ones you havent thought to ask yet!’ (p.838). Ignoring in-universe time, Jade’s predictions get more specific as the narrative progresses, so there’s a sense that she always knows slightly more than the reader or player and is staying one step ahead (even though this can be best explained by the author crystallizing their plans as they continue writing).

However, Jade’s predictions feel largely passive, always phrased like an unconscious understanding. She is a conduit for information, but there’s no sense that she could ‘choose’ to know the answer to a specific question, especially as she doesn’t know how these powers work. So if Skaia wanted to hide something from Jade or was itself incapable of knowing something, that would place another limitation on her abilities. We may have already seen this with the window device that Jade can’t get to work, despite gadgetry usually coming so easily to her.

Jade previously had an oracle’s trunk, but is slowly turning it into a gadget chest, as its contents were ‘completely bogus’ (p.802) – a crystal ball, velvet pillow, tarot deck, magic 8 ball, magic cue ball, and copy of Problem Sooth, mostly standard equipment for somebody interested in the occult. Jade dismisses the magic 8 ball as she has tested it against her own knowledge, but she is still superstitious about breaking it, suggesting a more general belief in supernatural powers, even while she sees them as inferior to her own.

Jade presents herself as all knowing, but she’s not sure why things keep appearing and disappearing around her atrium, she’s not sure why she falls asleep and importantly, she imagines John as ‘undoubtedly gallivanting around his house in a state of barely restrained birthday mirth’ (p.827) – so Jade’s knowledge is sometimes incomplete, sometimes inaccurate. But Jade turning her fortune telling chest into a gadgets chest shows that she sees her predictions scientifically, as more akin to understanding radiation or the atom than to tarot readings or horoscopes, without acknowledging the uncertainties that are still present in hard science. In fact, the way Jade talks about occult paraphernalia and fursuits are fairly similar. She is, or wants, the ‘real deal’ of everything, and doesn’t have time for what she sees as cheap imitations.

I believe that Skaian power breaks down the barriers between technology and reality, allowing creations such as Jade’s lunchtop, but also allowing Jade to see the fourth wall between herself and the readers’ computers. When we first meet Jade, she’s holding a note directed to the player, slightly offended that she will be/has been named Farmstink Buttlass (fair enough). Jade addresses the player directly during the ill-advised sylladex escapade where she gives a non-seer a chance to play the memory modus. She’s the first kid to refer directly to the author of the in-universe MS Paint Adventures - ‘looks like he was just finishing up some sort of weird tangential intermission’ (p.831), the ‘he’ presumably being Andrew Hussie. And Jade gains a sudden awareness that 413 years in the future while flying over the Pacific, the Peregrine Mendicant is asking ‘Don’t I know you?’ (p.900). Part of Jade’s prognostication involves knowing about all these different forces that are surveilling and controlling her, and being able to talk back. Jade is prepared to assert her dominance, whether that’s about knowing her sylladex better than the player does or frying PM’s command station with lightning because she doesn’t like being mind controlled. In this way Jade is more than a passive recipient of knowledge, she’s willing to look at the source of that knowledge and hold her own. Right now Jade feels like the most likely character to mess with the narrative itself – if she decides she wants to change something that’s predestined, it’s easy to see her arguing with the author directly.

7 - But you quickly realize this is only one half of your room, and is therefore host to only half of your INTERESTS to choose from.

This line from the end of page 789 is mostly a lie – the following page mostly recaps Jade’s previous interests, only adding her strife specibus and relationship with her grandfather. It is curious how Jade’s interests overflow from the page the same way they overflow from her room, the same way Jade’s introduction isn’t confined to her room and her existence spills out of the narrative. It gives the sense that Jade can’t be constrained by any force we yet know about. That’s a fun feeling – a wild card character makes everything more exciting.

Jade is a ‘skilled markswoman’ (p.790), owning four old fashioned looking guns. Two of these are long rifles for her riflekind specibus, and two are smaller and more portable. One is a hunting rifle, although it’s uncertain what Jade is hunting, as Jade’s ‘cross-hairs would never settle on an innocent creature’. It’s possible that she’s likely to encounter dangerous creatures if she leaves the house, or thinks she might in the future. Target practice is also a physical activity like bass playing or gardening, and one that can’t be taught through prognosticative powers, so it’s possible that Jade has honed this skill to have hobbies that take actual work, practice, and failure.

Although Jade claims to be a ‘great admirer’ of her grandfather’s (p.790), her actual feelings seem more complicated. He’s the person who taught her to hunt and lectures her on leaving the house without a rifle, but they differ ethically, with Jade really disliking the big game trophies he displays around the house. She especially dislikes his Typheus trophy, which he won’t move from the transportalizer even for practicality’s sake. Jade reluctantly supports his valiant knight collection, cannot stand his decrepit mummies, and seems confused by the Daughters of Eclectica, uncertain of why her grandfather likes them so much. Jade also describes her grandpa as ‘a little strict’ (p.772), giving ‘stern lectures’ (p.790), and especially ‘intense’ (p.382, 790, 916).

Like the other kid-guardian relationships, I think there’s a lack of understanding between the generations. Grandpa Harley has only been seen in silhouette, but from his home decoration, his monopolizing the grand foyer, and his apparent job title of an explorer-naturalist-treasure hunter-archaeologist-scientist-adventurer-big game hunter-billionaire, he comes across as someone bragadocious who likes to be surrounded by his own success and is in love with his own mythos, someone who has high expectations for Jade to live up to his own standards, and is controlling but in a hands off way. Needing to display so many of his achievements feels like he’s putting on the same act of coolness as Dave’s bro, but Grandpa cares about what was cool in 1909, not 2009. Jade’s grandpa has traveled a lot and been shaped by many years of adventuring, while Jade has likely never left the island or met many other people, so there’s a gulf in their experiences that’s hard to bridge. Jade can’t know what it’s like to live under the weight of her own history and celebrity, but her grandfather similarly can’t understand growing up in that shadow and in the expectations of eclipsing it.

If Jade is full on, excitable, a prodigy and a polymath, it’s clear who she gets it from. And Jade is maybe 50% between buying into the public image of her grandpa that he’s surely put across in media coverage, and 50% understanding the reality of him as a human being, the way somebody famous and star-studded can also be difficult, inconvenient, and make life harder when interacting on a day to day basis.

Final Thoughts

With a life much harder to relate to than John’s, Rose’s or Dave’s, I’m fascinated by what it’s like in Jade’s mind – to hold knowledge about the past, present and future all at once, to be certain what tomorrow will bring, and to communicate with an entity centuries in the future is a radically different experience to my own, and must really affect how Jade engages with the world. The main characters have gotten progressively weirder as we’ve been introduced to them in turn, but Jade is the only one to feel truly fantastical, guided by her powers as she is.

I can’t think of another piece of media that introduces characters so starkly, with no artifice, just a cleanly presented list of their interests. I love this framework; it paints an immediate picture of where these kids are in their lives as of April 13, 2009, leaving space for these interests to take on greater or lesser roles as the narrative progresses, but still shaping their perspectives and giving them texture from the first moment.

It’s also really interesting seeing the narrative work in introductions for these characters while the main story is still happening, allowing the new character space to explore without grinding the story to a halt. With around 75 consecutive pages, Jade’s introduction is much more leisurely than Rose or Dave’s, as they only had around 25 pages each. Slowly, and in narratively satisfying ways as Jade thinks about or talks to each of her friends, the other characters have been worked back in, turning Act 3 from Jade’s story into an ensemble piece.

As I get further into Homestuck, I’m finding myself with fewer burning questions, and more faith in the story’s method of revealing itself. But here’s the things on my mind as our fourth and final Beta Kid takes her place in the narrative.

What is Jade bad at? What are the skills that don’t come easily to Jade, or the everyday tasks where she struggles and makes mistakes?

Under what circumstances does Jade receive her knowledge, and in what form? Would she still have access to these powers in a different location? Is what Jade knows at all tied to what the player or reader knows?

Does Jade’s grandfather know about Skaia, and is this why he chose to live on this island, or is this coincidence? What exactly are his expectations for her, and what does he lecture her about beyond carrying a rifle and becoming a Daughter of Eclectica?

What does it mean for the narrative when a character knows more than the player? More than the author? How does an author even write a character like that? When does everything start falling apart?

Will these be our four main characters for the rest of the story, with WV and PM as secondary characters? Is this the end of major character introductions? Or are there more to come?

[queenburd]

I write this post with the caveat that I was into TSP and TSPUD before discovering Cl0ck 0ut and I never joined any servers around it, so the impact to me is extremely minimal compared to many others who were heavily inspired by it. I recognize that while it's sickening to me, it's even harder for the people who joined the TSP fandom because of Cl0ck 0ut.

I'm also extremely on the fringes of the fandom in general, I've never gone out of my way to interact with people who are more well-known for their narrator designs. I don't know that this post is going to reach its intended audience that much.

With all that aside, I really want to tell the people who are extremely hurt and reeling and sick to their stomach something that I think is pretty important:

You may have been introduced to TSP from watching Cl0ck 0ut, and it may have inspired you, but it is not the thing that kept you here interested in the game. You're in this fandom because you found like-minded people, maybe through the animation sure, and continued to make connections beyond that surface-level one.

Look, I've been here before. I'm not old, but I'm in my late twenties now and I've been in fandom circles for nearly 2 decades. There were inevitably times where the fanbase learned bad things about the creator, or a specific "big time" fan whose works they liked. It does suck, it does hurt, you're more than allowed to feel betrayed and sick and stressed.

A lot of what got me through it was having other people to talk to, who understood because they were also going through it. They understood because they were in that same fandom with me, we had met through it. The thing that mattered was that I had friends I had made beyond a superficial initial connection.

You made bonds. You created things (headcanons, art, stories, theories) with other people, and you still enjoyed the initial thing, yeah, but you enjoy it more because of the extra layers of connection that it led you to! But remember, please remember, that while it was a jumping off point, and you might attach a lot of value to it for that, it didn't do the work. You and other people did that. And that's the real valuable thing. That doesn't have to be stained with the bad feelings, I promise. It can and has evolved past the initial connection.

It's gonna sting for a while. That's understandable. If you need to take a break from creating, no one can blame you. But keep your connections with other people. Keep your friends.

(And if you made things that were directly inspired by Cl0ck 0ut designs or initial story, I can understand if you're feeling extremely uncomfortable with making more of it. I have a couple fanfics I was reading that were based off it.

At the end of the day, do what makes you most comfortable, even if that includes putting it down and never picaking it up again; but know that people liked what you were making, again, not because it was Cl0ck 0ut based, but because you were doing interesting and unique things with the premise. That's what fandom does with any media, and the story you were crafting does not, I think, need to be wholly discarded despite its premise having...'issues'.)

[fangsandfeels]

>Ok but he doesn't. He thinks he does. He thinks he has Rook all pinned down. It's why he doesn't expect Rook to escape the Prison of Regret but Rook does. Solas is convinced that all of his manipulation to get Rook to drown in regret is enough to keep them trapped in that prison. In his pride, he doesn't expect Rook to escape. He once again doesn't expect Rook to see through his final betrayal about the veil. He also doesn't expect Rook to have enough cards by the end to stop him (which is conditional based on what you do in the game)

I don't think that Varric was thinking that far ahead when he was hiring Rook. Hiring someone who can make decisions during high-risk situations and face the outcome is logical - you know that this person has the resilience necessary and won't back away from a challenging task.

However, to hire them because they're unpredictable and can potentially outsmart or outwit Solas? I don't think they were aiming that high or planning that far ahead. They just needed reliable people to hopefully intercept Solas before he sets his plans in motion.

Also, it's not uncommon for Solas to underestimate people. He woke up and decided that the beings living after the Veil deserved to go extinct because he saw them as terminally disabled due to their disconnect from the Fade - and only later was he forced to acknowledge them as people, which didn't dissuade him from his goals, just made him feel bad about what he was going to do.

He had flawed opinions about dwarves, Qunari, humans - and he still has them, but recognizes the Inquisitor as "one of the good ones" on High Approval. So, his pride has always been his weakness and the reason for his hubris.

The Inquisitor would have gotten out of the Prison of Regret, just like many other determined and strong personalities Solas knew personally - because they made as many, if not even more hard decisions as Rook did, and they didn't let regret stop them.

>Cassandra also spent time in the Hunterhorn Mountains north of Orlais, where she worked to rebuild the Seekers. For a time, the new Seekers remained reclusive, showing no interest in worldly affairs and working to a purpose few outside their order could guess.

"For a time" doesn't necessarily mean "for entire 10 years". Also, Seekers seeming reclusive and working to a purpose few outside their order could guess makes sense in the context of the Trespasser - if Cassandra decided to use the Seekers to assist the Inquisitor with searching for Solas, she isn't going to tell everyone and their mother about it.

Nobody knows what exactly Seekers are working on because nobody needs to know. Cassandra did learn a lot, and she learned how to be subtle. At least, had she been included in the plot of the Veilguard, there wouldn't have been any disconnect between the epilogue and her actions.

As for her not showing up in Southern Thedas due to political reasons, it would have been understandable, especially if there was a particularly intense geopolitical situation (I'm elaborating on this in the final paragraphs below). However, since Solas could be anywhere because of the Eluvians, she still can help in the regions she can go to.

>With Corypheus gone there is a power vacuum. A cult of fanatics don't just say "oh well, guess we'll go home now." According to Tevinter Nights (which the franchise being a mixed-media franchise has it's own problems), while a lot distanced themselves from the Venatori there were still a good number of loyalists who remained active. This leads to Aelia trying to fill in that role. She does gain a decent amount of support for it. Even when she's "captured" she has enough sway to escape prison and cause problems. Why? Because the Venatori's ideology is appealing to a lot of people in Tevinter even if they don't directly associate with the cult. However, with her "failure" we have another power vacuum present - so why is it "lazy writing" to have the emergence of another powerful mage that speaks like Corypheus and offer power similarly to what he did fill that?

First of all, yes, telling the story of the game in bits of other media is a horrible practice. Not all people are going to read them - so, it should be explained in the game. Not just by codex entries, but by the characters. I had no clue who Aelia was and why she was bad news - and Neve's vague explanations didn't make it any clearer.

Second, without Corypheus the Venatori lost their competitive differentiation, so to speak- their ideology wasn't any different from the general ideology of Tevinter, just a tad more honest and aggressive.

Yes, Tevinter is obsessed with the idea of its supremacy. Yes, it believes it deserves to rule the world and is working towards this goal.

Venatori are just too loud and messy about it, especially without an ancient god/demigod backing them up. So, if the Venatori can't serve the Tevinter's cause meaningfully or at least fall in line, the Tevinter's power would have either dismantled them (either forcefully or by destroying them from inside), just so they would stop causing so much ruckus and getting unwanted attention.

Alternatively, Tevinter would have exploited their zeal and fanaticism (for instance, encouraging their unethical magic research or even agreeing to finance their search for magisters like Corypheus) because despite being absolutely despicable Tevinter isn't stupid and it knows an opportunity when it sees one.

What I mean to say is that the game tries to show that the Venatori are the main reason why Tevinter is corrupt and not getting any better instead of showcasing how deep the problem goes and how it's much more complicated than "defeating a group of bad guys with an evil name"

>The supremacist ideology of the Venatori embody everything you're saying here. The examples you're giving are all part of the supremacist mindset. Hedonistic and power-obsessed ruling class? Yep. "Slavery is bad" and "we should treat non-mages as people" Those two concepts are directly against the supremacists ideology. We also do get some notes from Dorian doing just that Veilguard. The Venatori isn't just one shade of ugly, it's the embodiment of everything wrong in Tevinter. It's the supremacist ideology given form.

Then why make such a focus on the Venatori if the entire Tevinter is built on the ideas of supremacy? Why?

By making the Venatori solo bad guys of Tevinter, the writers washed their hands off the entire corrupt system of Tevinter established in the previous games - see, guys, magisters aren't that bad and the entire Tevinter society doesn't need a wake-up call, it were the Venatori all along. The Venatori are bad, Tevinter nobles practice slavery just because they're misunderstood and confused, and I guess Danarius, Hadriana, and all the slavers from Tevinter you had met before were just the Venatori in trench coats.

The reason why Tevinter refused to acknowledge the Venatori in the Inquisition was because of their cultish obsession with Corypheus and unsubtle aggressiveness, which didn't look good for their long-term ambitions and plotting.

It would have made more sense if the Venatori either became an official ruling party by the events of Veilguard (no coup needed) because a) they didn't meet any resistance from Senate or the people of Tevinter, b) they brought proof of ancient magisters actually existing, which gave magisters a huge ego boost and added quasireligious delusions to the Tevinter's program, c) Par-Vollen officially started its invasion (like it was promised in the previous games) by attacking Antiva, giving Tevinter the opportunity to be more active and aggressive (infiltrating Antiva by offering it "protection" from the Qunari, reintegrating Kirkwall under the guise of defensive measures), preying on the neighbor's desperation and vulnerability to its influence.

But instead, they're shown as that malicious cult that is officially opposed and rejected as if Tevinter somehow had an issue with their philosophy.

>Varric is the one tasked with forming a small team. It's his responsibility to form that team and onboard people and vet them. With the way it's framed in "The Missing" Varric had full authority to bring on whoever. He didn't need approval. They kept in touch via Charter and sent correspondence to the Inquisitor but there wasn't any need for approval.

That's the problem, especially considering that the group was going against Solas with his immense abilities and his network of spies. Bringing on whoever is dangerous. There should be at least reporting to the Inquisitor about new recruits because otherwise Varric had been putting himself in a stab-me-in-the-back situation for Solas' spies all that time.

>Given Varric's line to Neve at the beginning, Varric is upfront with the information: "I also told you he was an ancient elven god." Whether the person believes them is dependent on the person. Rook has been tracking Solas with Varric for a year or so. I think by now they've witnessed enough to believe Varric's information.

Having the information doesn't mean being prepared to face Solas - a guy who has been manipulating and doing psychological warfare long before the the Veil. Also, Varric gives a very one-sided perspective on Solas because he only knows him as his former ally. The Inquisitor gets to know a lot more about Solas - after all, they're the one he rants to during his High Approval scene at the balcony, they're the one he subtly confirms his chosen course of action with, they're the one who sees him leave after the Orb is broken, and they're the one to meet him again in the Trespasser. Varric doesn't have this information, he didn't see that side of Solas, so whatever information he gives to Rook is incomplete. Rook doesn't know what they're dealing with. Moreover, Rook doesn't need to know that Solas is sentimental - Rook needs to know that Solas is very good at lying and deceiving people and that he is ruthless.

It all could have been addressed within prologue dialogues, but all we got was Rook asking "So, when we find this Solas...then what?" - which sounded as if Rook joined the group just yesterday. As a result, Rook sounds woefully unprepared.

>You think they wouldn't let that stop them. I think they're smart enough to not continue to play an active part if any information they get or send off is information Solas is spoon feeding them. If their continued involvement would cause more harm then good then yea, I think they would take a step back. I think they would hand off the reigns to others.

The problem is: who are these others? The entire "there is a real elven god walking around and he wants to destroy the Veil" story is very hard to explain to anyone who hadn't been around during the events of the Trespasser. Dismissive and derogatory attitude towards the elven culture aside, people don't respond to the "gods are among us" claims well without proof. It's not the Blight, which is super hard to ignore. It's something new - and it's so challenging to everyone's religious ideas that engaging new allies would have required some thoughtful wording and messaging.

There is a reason the guys who believed that Andraste reincarnated into a dragon were considered lunatics in the DA:O. To find others who can handle Solas (while knowing what he is and bracing themselves for a tough challenge) would take time and effort - meanwhile, both Leliana and Josephine have the burden of knowing the threat, knowing it's coming. I can't honestly imagine them sitting on their hands and hoping that the Inquisitor finds someone.

Now, there could have been a wonderful way to keep them busy and not as involved without making it look odd. For instance, if Par Vollen officially declared war and started invading Rivain and Antiva.

In that case, Josephine would be fully committed to doing whatever she can for her country, while Leliana's presence will be crucial for a) the morale and safety (if Divine), b) working against Ben-Hassrath and gathering intel (if Sister Nightingale).

>They do find new allies through their journey.

We don't see them in the game.

>They do find people who have ample knowledge of magic and ancient history.

We don't see them in the game.

>This idea also continues to play out in Veilguard. We find someone who has connections.

There is only Neve who is more of a investigative journalist/freedom fighter who never dealt with gods, ancient magic or anything like that. She herself admits that she is way over her head.

>We find someone who has ample knowledge of the fade since that's what Solas was directly trying to manipulate.

Aside from Emmrich, there is nobody else available - and Rook employs him after Varric is out of commission, leaving Rook desperate for help and clues because they have nothing. That's the issue: there are no tangible results after the 10 years of search. Rook starts from the ground zero - even though they aren't supposed to.

>I do not think it implicitly means what you've interpreted it to. I think that's how you interpreted that and I think that's a valid interpretation of it. Unfortunately that's not where they took it. That's also now how I interpreted it. I think a lot of the fandom interpreted this in different ways and that leads to disappointment if their interpretation wasn't correct. I think that's what's happening to you here. I don't think Bioware not catering to your interpretation means "they don't care." or anything like that. I think it's just that what you predicted or assumed based on the information provided ended up being incorrect. Other people predicted it correctly. If anything this just means that the marketing team could have done better at setting expectations and making sure everyone was on the same page.

From my point of view, there are things that are meant to be interpreted differently by players, and that are part of worldbuilding that isn't up for interpretation. For example, the Warden can be absolutely merciless and cruel in their decisions - and their motivations depend on the player's interpretation (trauma, anger due to oppression, refusal to be kind to the world that screwed them over, simple assholery). Similarly, the Warden can be heroic and selfless - why are they like that is still up to the player's interpretation. However, the end goal doesn't change: Kill the Archdemon. It doesn't matter how evil or how kind the Warden is as long as they get the job done. They become the Hero of Ferelden regardless.

All the threats created or hinted at were never up to interpretation. Blights are extremely dangerous. The Mage-Templar war caused massive destructive disruptions across the Andrastian regions, leaving mages and templars particularly vulnerable to exploitation. The death of the Divine led to hysteria and massive crisis of faith, while the Breach and the rise of Corypheus led to the emergence of the Venatori and red lyrium zombies. And the characters always responded accordingly to the threats -- either because of their rank and calling or due to them having exclusive understanding of the problem and needing to be in the loop.

The ending of Trespasser implied that Leliana and Cassandra were sticking around, working with Inquisitor and following the Inquisitor's decisions (and certainly taking note of how easily Solas infiltrated their networks). For them to just bow out without any explanation or reason isn't the problem of interpretation - the game didn't deliver its own buildup.

>But Bioware can't just make whatever they want. Bioware is owned by EA (not just published through them. OWNED by them). Bioware has to pay people to make the games. They need to get the funding and approval from EA to do so. This means that no matter how passionate the team is, there's only so much they can do and EA gets a huge say in what that is. EA who explicitly stated earlier AFTER BG3 released that they don't think single player story based games are worth investing in. WHICH IS INSANE TO ME. EA had them start developing the game one way. EA had them change development midway. EA had them remove all multiplayer pieces. EA cut funding to Bioware forcing them to make cuts in staff.

I admit, I don't know whether it was Bioware or EA who decided to completely dunk on the elves and their entire arc in the Veilguard, make a clown show out of Qunari, destroy Loghain as a character and erase nearly the entire Southern Thedas - and then naively hope for Dragon Age series to get the next game.

I don't know whether it was the Bioware's love ruined by the EA (which definitely played the part in it because I know how soulless and greedy management can fuck up the production) or Bioware writing it all out of spite and then releasing the artbook so people could pay $75 to see the content and the story that never happened and will never happen.

The outcome is the same: there is no reason for me to give them money. If Bioware can no longer make it's own creative choices, I will no longer buy its games because it means rewarding EA for its abhorrent practices.

There is no point in believing in Bioware anymore and support it because if this is where EA is taking it, I'd rather let my favorite series die and be put to rest than see them twisted into the parody of their former selves.

I understand your point, but IMHO, the problem of Veilguard isn't that it's not perfect - it has been actively hurt by the choices and management, which is why it's the pale shadow of what it was supposed to be.

Moreover, I don't even know what the writing team thinks because they either lump reasonable criticism together with elon musk fanboys whining, which is downright insulting or carefully pat themselves on the back for the job done. I understand that EA may have made them sign some kind of BS contract that doesn't allow them to speak ill of EA and its decisions for 100 years or so, but even refraining from comments would have sent the message.

Right now, both behaviors create an impression as it's the players fault for having expectations and wanting the proper final of their story, instead of just consuming the content.

And that's just sad.

Bioware writing team has a comfy, sheltered life and it shows

I'm sorry, but how come that the only people Inquisitor sent to look for Solas were Varric and Harding? How come that the only people recruited in 10 years of pursuing Solas were Neve and Rook? Do the writers understand that this is NOT how a serious effort looks like?

What about Leliana? Divine or not, she is still Sister Nightingale with an immense spywork. You'd think she won't mobilize everything she has to track Solas and his followers?

What about Josephine? What, she decided "nah, I'm done" and didn't use any of her diplomatic talents and connections to let the Inquisitor's agents have access, permissions or information they need?

What about Dorian? As a political figure, you'd think he will be the first Minrathous contact for the Inquisitor allies, the one arranging things and providing insights?

What about Cassandra and her Seekers? Isn't she interested in stopping another world-ending threat?

What about Sera and her sabotaging potential? If she organized the group of people for performing vigilante acts, people who are her eyes and ears, how come nobody from her group is helping with the effort?

I get it why Varric takes part in it - he knew Solas, the Inquisitor trusts him and his judgement, but for the game to imply that all the responsibility was lumped on Varric's shoulders is fucking disgraceful. I get it writers, Varric is popular character, and you would use him as bait to your heart's content, but the context you've created implies that Varric might have been the only one to take the threat seriously, while the Inquisitor and the rest were doing God knows what.

Varric should have been handing the Rook information on all the contacts they can recruit, all the useful agents, all the people to work with, not tell them to ask Neve because she might know someone because detective (Neve is a good character, but the fact that people who were supposed to spend 10 years chasing Solas look up to her for finding them contacts is appalling).

"Oh, but all these people were in the previous parts and we don't want to mention previous parts because muh new players" - well, you shot yourselves in the foot. Maybe, just maybe, you should have AT LEAST cared more about the choices made in DAI.

Congrats.

[seventeenlovesthree]

Since it's my personal mission to make everybody watch the Digimon Adventure Tri Stage Play, I dug up one of my favourite interviews again. I owe the producer my life, because he simply managed to create the best piece of Digimon Adventure media since Adventure itself (in my opinion almost as amazing as Our War Game and that MEANS something). However, I saw a few people being confused about a few things, so I wanted to clarify:

"Wait, is the Stage Play just Tri's story but done on stage?"

Nope, it does take place during the Tri era (between the third and fourth movie to be exact), but it is an original (side) story that can be watched without having any knowledge of Tri or Tri's plot.

"Does the story take place in the real or in the Digital World?"

That would actually be a spoiler and since there is no easy answer to this, I'm gonna say you have to watch it for yourself.

"Are the characters like in the original or like in Tri?"

That's the fun part - of course there are glimpses and pieces of the Tri characterizations, but the producer really did his very best to adapt the characters faithfully and as respectfully from the original source material as much as he could and I think you can feel that:

"To be honest, the generational timing was a little off for me, so I had never seen Digimon before. After I received the request for the stage play, I watched all of it, including the original TV series and the movie series, but I didn’t expect that I’d be crying so many times. It was a story of human growth and Digimon evolution being deeply intertwined, and I watched as that growth and evolution was overlaid with so many other things. Maybe it was because I watched it as an adult, but I was able to see it from all sorts of perspectives in regards to “people growing”. (...) While I’ve worked with other people’s stories and made plays out of them several times, it was usually in the sense of taking the original work’s story and repurposing it for the stage format. But for this one, even though I’m borrowing the original series’s characters, the story is being written from scratch, and it’s my first time writing words for characters that were created by other people. It was a high level of difficulty, and I still feel it even now. Also, it made me wonder how the scriptwriters for the anime must have done this. They were also writing the same characters in the same world, while sharing that job with tons of other people. It’s amazing that they were able to do that. But, naturally, it wasn’t just full of difficult and painful things, but once the story properly got going, I got to hear the lines I was writing in the voices of the characters from the original series, and getting to savor those kinds of moments was very fun. Someone like me, who works in the theatre field, gets to take over the job of writing the lines of characters made by others. And then I have Toei check over it, and we get even closer to the mark. So in other words, we bring these characters to life by sharing them between everyone. And especially in the case of Digimon, it was an interesting experience in that there wasn’t just one writer or director, but rather that everyone had their own version of Taichi and Yamato, and the dialogue was born from between all of that.

"Anything else I need to know?"

If you are able to see past some cringe, don't mind nostalgia baiting and are okay with a few... Questionable scenes in regards to the main antagonist (which you will definitely know if you've watched the original Adventure series), you will enjoy this.

Also, personally, I'd say this is the order of plot relevance of each human character, so if your favourite characters are in the top half of the list (and even if they're not), you are likely to have fun:

Taichi

Jyou

Koushirou

Yamato

Mimi

Hikari

Sora

Takeru

[weepingscope]

salty about 'what if we removed the antagonistic character and everyone was safe and happy' posting what if Mouthwashing was a game about finding your cat in a village in the alps

[torchstelechos]

I love that In Stars and Time gives the nonconsensual kiss a proper horrified reaction, by the way. Most media where a character can kiss someone out of no where either make it a funny thing or the "romantic" thing, but here Siffrin kisses without permission out of no where and Isabeau reacts correctly! He pushed them away! Because thats surprising, and fucked up to do to someone with no lead up and no permission! Isabeau had no context, and at the time when the kiss happened, was under the impression that Siffrin didn't like touch which can have a variety of horrible reasons for it. Not only that but... We don't know what face Siffrin was pulling and I don't think it was a nice one. Which, again, means that we don't have all the context either! This is a horrible event that has horrible consequences and I love that it does. Because it's something that is horrible and objectively one of the worst things Siffrin did to one of the others in the loops, so I'm just!!! So excited it had bad consequences!!!

[rambles-on-dragon-age]

It's word vomit time because I can't help myself when it comes to this franchise and particularly when it comes to Solas. Even some old blogs that I really enjoyed the analysis from I had to unfollow because it seems that all that's being taken from the game is "Solas did everything bad in history ever but actually it was also Mythal" and going wildly between completely absolving Solas of all responsibility because "Mythal made him" or "Solas is actually the root of everything wrong in the world". That they're just two dimensional cartoon villains.

Which???? That's not what Veilguard was showing us!!

Much longer rambling under the cut but the tl;dr is Veilguard showed us the build up and exposed just how high the stakes are and just how deep Solas's regrets are as he tries to wade through the mess he was born into. We got just crumbs in Inquisition/Trespasser and Veilguard just handed us the whole loaf. Looking at this as them saying he's just an uber villain is y'all eating the crust and being pissed about how crusty it is. Dig down to the fluffy center!!! He says time and time again that he's not a god, he's just a man that made mistakes. He's a man burdened by war and when all you have are horrible choices he tried to pick the least bad of them. It just added layers and reaffirmed that in war, there are no good choices. There's survival. You can't apply black and white morals to war; it's messy as fuck and there's no good choices. Veilguard exposed the motivations of a broken man drowning in guilt and showed us how he got there. It pulled back the layers like an onion and exposed the heart in glaring light; it added so much nuance and so many layers to Solas and his motivations and actions.

The cut hides me just rambling and breaking this down further, be aware it's a wall.

First off; the first elves were spirits. We've learned time and time again that spirits don't think the same as humans. Especially when speaking to Emmrich about Manfred and his rambling included teaching Manfred morals. Human morals. You can't really apply human morals to ancient immortal creatures that decided to fashion bodies for themselves cause they thought it looked fun and was new and novel. They probably didn't think ahead to the future where the creatures they struck down might be upset. They don't care; it's a rock to them. Why should they care? They're spirits mucking about in this new world and having a ball. They didn't stop to think about the consequences of it.

Which brings me to the second thing we got reaffirmed; THERE WAS WAR. Even now we live in war times. War is fucking scary. War changes people. We have so much media from survivors trying to express how terrifying war is and share that with people that haven't been through it. (LOTR I'm looking very pointedly at you and waving you around.) The first war was the Titans striking back at the Elvhen for what they had done. (Very justified.) This is when Mythal pleads with Solas to give up his very much loved form and Fade to help her. As they were originally spirits and are effectively immortal, they would have probably a.) felt emotions far more deeply and richly (if more narrowly/with less range) than modern mortals and b.) their morals are probably very different considering they're new to physical bodies and their own growing complexity instead of remaining as more simple spirits and c.) it's clear he feels at least some sort of trust and devotion to Mythal in a fashion we can't really grasp. (The writers confirm that a romanced Lavellan is the first time he's fallen in love so we know that's not what he has for Mythal. But devotion and service? Those are still powerful.) Anyway, that war is wrapped up decisively in one fell stroke thanks to Mythal again making use of Solas's wisdom to craft the dagger that would sunder the Titans. (Even though she, herself, apparently doesn't even do the final blow she again has Solas do it with the weapon he crafted. In the art book, it shows him trapping their dreams in a small black cube and he himself bringing that prison cube back. This is probably why he becomes known as her lapdog/attack dog.) War over, their people are safe. Oooooo elves are just so evil. Except. What were the alternatives? Continue hunting and killing the Titans until they're all truly dead? Would the dwarves have survived this or would they have died with their creators? How would this affect the physical world if the "pillars" are struck down wholesale? The elves can't just fuck off back to the Fade anymore, they have physical bodies crafted from this world now. They're no longer spirits. Do they all just roll over and die? It's in your nature to survive no matter what and this fundamental truth means there would be no peace between the elves and titans, even if the elves stopped their colonizing bullshit. Instead, they were sundered from the fade and left in comas alive. The dwarves were sundered from the titans and each other, but they also lived on. It was a terrible choice when all there were were terrible choices. There were no good choices. The elves sacrificed the titans for their own peace and their war with their world ended.

The second war was the newly named Evanuris against the Forgotten Ones for not helping the Elvhen in the war with the Titans. This is when the elves would have been fearful and already fallen in behind the strongest of them in want of protection. The fight of "those that protected us" vs "those that abandoned us". It just set the stage for more intensely divided elves, more intensely dependent elves. The Evanuris were powerful enough to protect them and end the war with the Titans, they would be powerful enough to protect them and end the war with the Forgotten Ones. (In Bellara's quest, we learn that at least one of them crafted an army of demons to fight for him.) We also learn through Solas's memories that the Evanuris aren't above propaganda and lies; they slaughtered their own people and claimed the Dread Wolf did all of it. This was a war of vengeance, plain and simple, prettied up as good gods vs evil gods. Even the later legends paints it as the good Creator gods vs the evil Forgotten Ones.

After that, the war focus shifts to Fen'harel and his "rebellion". The game shows us that after their war with the Forgotten Ones, Elgar'nan decides they deserve to be gods. Why not? They're already incredibly powerful and rule as kings/queens. Why not be gods? Their people already serve them in body, lets just amp that up to in spirit and in mind. They're marked in blood writing to show who owns them. Just take their minds and have their total obedience, love, and devotion. It's what they deserve after all being so powerful and cool! (Sarcasm in case you miss it.)

Solas pushed back at every opportunity. He started with letters and moved on to freeing their slaves and moving against them period. He was making such progress against them they got desperate and delved into the Titan's prison, using it as power. "They were blind to the horrors." They didn't realize how horrible this new power was because they were already corrupted. He begged Mythal to stop them and they instead murdered her with her own dagger/the weapon Solas crafted for her. To save the living world, he had to imprison them and the Blight away. The Veil locking away all of the Fade was a mistake on his part; considering the power of the magic he was casting, kinda understandable.

We can see, through his own memories, how he changes through this time. Where he begins to make more and more "acceptable sacrifices". Where he cuts problems off entirely instead of taking the time and risk to try and save people. The greater good is what drives him and he can't risk getting caught up in the small details. Like individual lives compared to all the lives they're working to save. Like the trolley problem but more extreme; does he let this person die, or does he let them carry their infection out to kill untold people? Does he ask these spirits to die doing what they love making the distraction or does he have their very limited bodied forces serve as the diversion and die instead?

The memories we play through in the Crossroads and hear through the murals aren't painting him and/or Mythal as the worst villains ever. They're not simplifying their motives or actions. I mean, they're not even justifying their actions either. They fucked up, they did wrong, but they fucking survived and tried to do so with the least casualties possible. The writers are handing us the story, colored only by Solas's feelings/memories. No longer are they colored by the personal biases and limited perceptions of the unreliable narrators like the rest of the game lore and history that has been given to us. These were practically straight from the source! And instead of it being given to us through the distorted lens of other characters, y'all get to distort it all yourself. :)

I had a good conversation with @hyperions-light in the comment section of this post where they also pointed out that the meetings show us just as clearly how this is happening in real time.

The game showed us, IN REAL TIME, how being presented pretty straightforward information is filtered by each person based on their own life's perceptions and biases and their own motivations.

I'm sorry y'all walked away from all that with the most basic surface level understanding colored in black and white.

The whole fucking thing was heartbreaking. What Solas has been through, the situations he was in both of his making and out of his control, were terrible. He did his best but it still wasn't good. Veilguard didn't cheapen what he did or what he went through; it added layers and honestly made it more tragic. He was born into war and desperately fought his whole life like he was the only one standing between his people and total annihilation. You can't live thousands of years like that and not fuck some shit up. I'm also not above that and I don't think any person would be. I'm in my 30s and have fucked plenty of stuff up; gimme a few thousand years and multiple wars and I probably also would have committed war crimes trying to save my people.

Every time I see a new post complaining that Veilguard reduced Solas and Mythal to cartoon villains that did everything wrong, I want to start biting.

[g0nta-g0kuhara]

why do u think people r so ashamed of loving danron??

I mean, honestly, there's a lot of reasons, which makes it kind of complicated to tackle. I can list out a few from the top of my head, based on personal experience Feeling the shame and observation of other fans

•The problematic content in the games themselves. People feel embarrassed to like the other parts of the game because of the amount of bigoted moments (and sometimes whole characters) within these games. They don't want people to think they like those parts too, so they couch their appreciation in embarrassment.

•The reputation of the fanbase. On tumblr at least, things have normalized significantly and I find this fandom a very chill place to be. But the danganronpa fandom at its peak (2012-2016ish) was RABID. Like any major tumblr fandom, there was tons of drama, discourse, and toxic fan behaviour, but DR was genuinely on another level. This is especially true because of the young average age of members of the fandom at the time. Even though thats not generally true anymore on tumblr, this fandom still has that reputation to non-fans, and so people don't want to be associated with it.

•Cringe culture. At its peak, the DR fandom on tumblr was made mostly of teens, especially younger teens. I think the earnest way young teens participate in fandom led to it being seen as cringe, just like many other fandoms. Also, even outside of its problematic content, DR's plot can be weird and, frankly, even completely ridiculous. Similar to hom/estuck, I think this esotericness adds to people's kneejerk reaction to it when hearing about it second hand.

•The tendency of tumblr to turn on popular media when the magic is gone. This is something I've noticed with a lot of tumblr's number 1 big fandoms. Once a lot of people's interest in it starts wearing off, for some reason people will pivot to hating it. It happened with T/MA a little, it happened with Und/ertale, it happened with S/U, and so many other fandoms that tumblr went crazy over initially. Maybe its because these fandoms became so vocal they started to annoy those not participating, so they started to meme and make fun of it and its fans. Then, when people start to leave as their interests change, they join in on the teasing to displace the shame they might've felt from being teased. Eventually, people usually turn around and come to appreciate the piece of media casually again. That didn't really happen with DR... probably because of the other three reasons.

DR gained this reputation of being "irredeemable, problematic, cringe media" with a toxic fanbase and never shook it off. Before I played DR, I knew nothing about it except that tumblr hated it, for some reason. I had learned literally nothing else through fandom osmosis! And I think that general feeling, that Good People who like Unproblematic Things* (*requirement of being a good person) would never touch DR with a 10 foot pole outside of to make fun of it, sticks with people.

So when people finally check it out, usually through irony-poisoned letsplays of it, and end up actually liking it, they don't know what to do with themselves. How do you balance genuinely liking this piece of media with the site-wide perception youve grown so used to? With the idea that everyone will hate you if they know you like it, that you are a bad person for even posting about it? And thats how you get everyone's first DR post having a caption essentially communicating "im so sorry for posting about dr- I know its terrible and associating myself with this game makes me look disgusting- people who've followed me up until now, please dont hate me!"

[impmansloot]

tired of you guys thinking that giving a character a benefit of the doubt, assuming that things might be more complicated than it seems, and liking morally gray characters is poor media literacy/comprehension. Atp these words stopped meaning anything, it's just an awfully convenient tool to imply your opponent's dumb (unlike you!), and unfortunately most times it's thrown in an argument, in specific fandom cases especially, it just boils down to "you're reading it wrong/not the way I like so you must be stupid"

[necrotic-nephilim]

i’m feeling messy. for the new ask game, 5 :)

for the choose violence ask game!

5. worst discord server and why

of COURSE you would choose to be this messy, you lil rat. <3 i will be kind enough to not name the server, it's a general Batfamily server i found on Disboard. most Bafam discord servers tend to be... anti leaning so it's something i sort of expect, but this one has a "ship advisory list", including ships you're not allowed to share media of (like fanfic or fanart) and if you discuss the ship you can be told to stop talking about it. and there were the typical ships you'd expect like Joker/Harley, BatJokes, and ofc a "no proships" umbrella ban. but some of the ships fucking baffled me. like canon ships were on this list. ships i to this day can't figure out why they'd be banned. the top ships of the list that just *got me* in terms of "... what is bad about this ship???" were

DickBabs

DonnaDick

Barry/Diana

Barry/Dinah

JayRose

Catwoman/Penguin

Talia/Bane

some of these i didn't know were shipped in the *first place* but even if they are, i can't fathom what's wrong with them. some of them are canon, normal ships? like what did JayRose do wrong. it's one of Jason's healthier relationships. and DonnaDick somehow gets me the most. my only guess is that antis heard them referred to as the Wonder Twins and thus decided the ship was incestual. bc otherwise how. why. i laugh everytime i think about DonnaDick being problematic.

on one hand i do think it's fucking hilarious of a list and it always makes me laugh bc i cannot fathom the mentality. but on the other hand it is sort of depressing that so many public social platforms for discussing the Batfam are becoming *so* anti-leaning that ships can be banned simply bc the mods of the server decided they were problematic for some unforeseen reason. it was the biggest depiction of "i don't like this ship so it's problematic" i've ever seen. like where does the goalpost stop moving? when does it somehow become problematic to ship things in general? it was wild even for anti stuff. truly the most baffling server i've been in.

[apoloadonisandnarcissus]

I taken this post is an answer to my own posts.

First things first; the Valar don’t have the authority to do anything in the legendarium. They sent the Istari to help the Free people of Middle-earth fight against Sauron, indirectly.

The ultimate authority is Eru Ilúvatar, and Tolkien tells us he knows everything and that everything happens according to His plan. He knows things the Valar themselves aren’t aware of. It’s Eru that destroys Númenor, because Manwë asks him to intervene, but this was most likely already part of His plan. Tolkien would also use Eru to justify how the Orcs were allowed to exist, because only Him has the power of creation in the lore, and Melkor doesn’t have that power (and that’s the whole point of him corrupting Eru’s creation out of envy). Eru allowed the Orcs, because they were, most likely, also a part of his masterplan.

Gandalf strength isn’t power; is wisdom. He knows the harfoots will have a major role to play later on. And he’s absolutely correct because it’s Frodo and Sam that will journey to Mordor and get the One Ring destroyed, rendering Sauron powerless. Actually is Gollum that destroys the One Ring, but he’s also a member of the hobbit kin (a branch of the race of Men). Having Gandalf befriending the harfoots early in the story isn’t only a Easter egg or to justify his friendship with them at the dawn of the Third age. He was sent to Middle-earth with a mission, and he lands precisely where the future hobbits that will defeat Sauron are. This isn’t random.

I know the fandom enjoys talking about Sauron hypothetical redemption, but he’s not on a path to redemption. So, honestly, this discussion about if the Three elven rings of power can or can’t “redeem” him seems kind of pointless. Sauron isn’t irredeemable (because no character is in the legendarium), but he’s not capable of doing penitence for his crimes nor will he be for the next thousands of years (until the One Ring is destroyed). He only go deeper into evil.

You can treat and interpret the legendarium whatever you want, but neglecting the author’s explanations of his own work seems kind of a odd strategy, if I’m being honest. How do you expect to understand what the author is saying if you straight-out ignore him? I take Christopher’s notes with a grain of salt, myself, but I will take into consideration Tolkien letters and notes to understand what his message, themes and symbolism are. Because he created this world and these characters, not me. And you are clearly talking about interpreting his work, and not “fanon” or fanfiction here.

The difference between canon and legendarium in Tolkien, is not that all is fair game with the legendarium. You won’t see any Tolkien scholar saying such a thing. They use “canon” to describe the events (this happened this way and this way), while the legendarium are the themes, the messages and the symbolism Tolkien used and built. “Rings of Power” plays lose with the canon, but the core themes are still there.

And I have a hard time believing Tolkien, a devoted Catholic who infused his work with heavy Catholic messaging and symbolism, would laugh because his fans recognize the main inspiration behind his work. It was not the only one, but it’s the main. He called the hippies who enjoyed his work and saw it as a anti-war allegory “deplorable cultus” and said “many American fans enjoy the books in a way which I do not". He was probably upset because mainstream media was portraying his work as “hippie books”, when this was far from his intentions. He hated allegories, after all. This tells me the way his work was perceived mattered to him, unlike your argument.

Tolkien legendarium is not a copy-paste from the Bible, with that I agree. But the themes are still there, the message is still there, whenever folks recognize it or not. You mentioned “The Silmarillion” but this work is written from the Eldar POV and a case of “History is written from the winners” and unreliable narrators. That’s why you need Tolkien’s letters and Christopher’s notes on the work to fully understand it.

Unless your intention is to interpret and see whatever you want to see (creating your own headcanons) and that’s valid. But that’s “fanon”, not an lore accurate interpretation of Tolkien work. And this is all too common in the Tolkien fandom even before “Rings of Power” existed. Folks have way too many headcanons and pass it on as “canon”. In my opinion this is also the main reason why so many Tolkien fans reject “Rings of Power” because it goes against their headcanons.

Also this disdain for Tolkien letters rubs me the wrong way, every time, and it might not be your intention, but this is one of the “dudebros” arguments against the “Rings of Power” fandom; “we are all a bunch of mindless consumers who don’t care about Tolkien world nor his message”. When that’s not true. There are many Tolkien fans in the “Rings of Power” fandom, and even Tolkien scholars watch it and don’t have any problems with this adaptation.

Thinking about the subtle presence of the powers that be and/or the Valar in Rings of Power, and having thoughts about what part they might play in the adaptation, specifically what we’ve seen so far, and going over how those powers that be might view Sauron and his actions, and every time I think about him in that context I feel somewhat sympathetic .

However, not too sympathetic, given his repeated offenses, to qualify him for redemption or some kind of blanket amnesty, at least not before many, many ages of serious contrition, and given that Sauron is Sauron, well. Is that likely?

There are a few different threads I’ve seen that try to make a case for TROP being all about ultimate forgiveness for Sauron, while condemning the choices and actions of Galadriel, Adar, Celebrimbor, Mirdania, or anyone who gets in his way because those individuals were short-sighted or needy, or were motivated by ego or weakness, and that the Valar were handwaving Sauron’s actions or even using Sauron as some kind of tool for divine justice(!).

Do we really think the Valar are indifferent to the suffering of elves and dwarves and men, to the point that they would condemn them to be tortured to death based on a bad choice, or a personal weakness, or a common character flaw? I don't think they are quite that severe in their judgement, but I do think, being something akin to gods, their seeming lack of presence could be interpreted as indifference, and more than that I think their actions happen on a much different time scale, so any action they take might take most of an age to show any results. And of course there would be a lot of unfortunate collateral damage in the meanwhile.

But do we seriously think this means that they would allow all of the violence and destruction we’ve seen so far just to give Sauron a second (third, fourth, fifth) chance to choose a better path before he’s subdued, just because he's a Maia and that somehow makes him their special boy?

No, and I think the show has shown us that this is not the case.

I think Sauron blew it when we were shown what happened in the season two flashback, when we saw his first days as “Halbrand”. Because it feels like that was his chance, and everything he's done and will continue to do in upcoming seasons will show him going deeper into whatever passes for insanity in demi-gods, with little or no understanding of the fact that his vision of order for Middle-earth is just as much an abomination as Melkor's path of destruction.

And that’s the compelling tragedy of Sauron.

Sadly that will mean more and worse consequences for the peoples of Middle-earth in the short term. But the Valar are not indifferent to this, and based on what we've seen they know Sauron needs to be dealt with. But what proof is there of that?

Well, they sent the Stranger/Gandalf, an Istari, and he has been explicitly put on a path to confront Sauron.

Think about the timing of him falling to earth: Sauron was on the raft with Galadriel, not long after Diarmid(!) was trying to get through to Sauron in the hold of that ship (and its subsequent destruction with Sauron on board was anything but a coincidence).

Of course Gandalf has free will too, and might make some mistakes. But he is a powerful force, who also has a different perspective and can play by different rules if he chooses, but he isn’t indifferent to the suffering of the Harfoots, and won't be indifferent to any pain Sauron causes the other peoples of Middle-earth.

So we're watching the consequences of Sauron blowing his latest chance play out, and ultimately I think we know we’ll see the realization of the Valar's condemnation of Sauron's choices and actions via Gandalf, the emissary they sent to counter him and muster forces to help subdue him. And I think the rings, all of them, will come into play during that struggle.

There’s a lot of underlying stuff about free will and the fact that power corrupts running through TROP and Tolkien in general. Celebrimbor made the Three with good intentions despite the fact that wanting to make them was also about ego and his legacy, but we can’t deny that the Three did the job he made them for, and we’ve seen them used to do good things. But Celebrimbor and Galdariel and Gil-galad and anyone else who comes in contact with the Three still have free will, and any attendant flaws that come with free will, and ultimately any powerful tool can be used for good or ill, and will inspire different things in characters according to their individual strengths and weaknesses.

But I do think the Three are more benevolent tools than any of the other Rings, with the One that Sauron will forge out of desperation being the ultimate corrupted tool that could influence the others. So Elrond or Galadriel or even Gandalf might have a better chance of using one of the Three for good, for protection and preservation for some length of time, whereas contact with someone like Sauron would change them based on his intentions, and his intentions are about gaining enough power to subjugate, well, everyone. In his hands, for instance, Nenya’s tendency toward protection would quickly decay into more overt stagnation, and just like men were drawn into the shadow realm by the Nine and the One, someone like Sauron with ill intent or a long history of general malevolence would gradually feed that into any one of the Three and reap the consequences.

In other words it’s not all about the sword, but who wields it.

I do wonder if we’ll see the Three become somewhat tied to the One in TROP, and if so how that will play out. Going back to the books, eventually the Three do lose their powers but there’s no indication that they were corrupted to the degree that the potential of any of the rings of power could corrupt or be corrupted.

The Three are powerful, and they are sought after, but they are not the Silmarils.

But would one of the Three heal or help Sauron? No, and getting back to the first part of this post, there are no shortcuts on the path to healing and redemption, and Sauron can't see that path at this point, and more than that he doesn't even know he's lost in the woods.

Quick aside because I just got a rude anon ask on the subject: Yes, I’ve read Silm and the other books and a bunch of other stuff, but I don’t treat the Legendarium as if I’m a supplicant who only accepts a literal interpretation of something Tolkien said in a lecture or a letter as something akin to religious doctrine, and I think he would laugh himself into a fit to see fans trying to contradict each other that way, especially given how he felt about the so-called dominion of the author. And given that TROP is going at Silm etc. buffet-style I don’t think we can talk about the show and expect it to adhere too strictly to every line the poor man ever wrote. This doesn't mean I didn't understand Silm, but I am coming at the adaptation mostly as it's own "thing." I hope that makes sense.

[llitchilitchi]

I get hating certain political systems and trying to abolish totalitarian regimes but at the same time many of them are so interwoven with our history and society they have become tropes and when I consume media with a setting where the monarchy is absolute and revered then I am playing my part and sucking that princeling off

[trentcrimminallybeautiful]

i think the diamond dogs should play improv games just bc it would amuse me, an ex theater kid, specifically

[rosewood-multifandom-writer]

People simply cannot handle complex characters like Vergil (god forbid they play Metal Gear Rising, because with how media illiterate too many people are in fandom, it’s gonna be a new nightmare…). He really is the backbone of the DMC series. He was in the first game as one of the many boss fights in DMC1. He is a lot more than just the “power guy” to Dante’s “pizza guy.”

Plus, he’s trying to get more power because he went through a traumatic experience as a kid. I can relate to that because I’ve been hurt emotionally before and I despised feeling weak and vulnerable, and it feels cathartic for me to play as a character like Vergil and if I’m ever stick in a situation while playing as him, I can get myself out of it. Writing about him, although my writing for him needs so much work, also feels just as satisfying for me.

Vergil could’ve easily been a typical power seeking villain, but he’s far from that. There was a set of headcanons I loved seeing about Vergil being with a partner who is like him in a way and one detail I adored the most is how he chooses to not pry, because if he was in the same position as his partner (more importantly because he’s been there before) he would also hate being lectured at. He let his partner be the one opening up about why.

I’m getting ahead of myself here, but yeah, Vergil is more complicated than people give him credit for. You cannot simplify a character like Vergil in character analysis or explanations without getting his character wrong.

vergil is the backbone of the entire devil may cry series and people still reduces him to the guy who simply wants more power for the sake of power oh my god why are you clowning

[leezuhh]

it's crazy to me that there are people out there who still think that media and fiction do not affect how people think at all