#but i feel like a lot of them put their all into the designs and then don't have the same inspiration to write an impactful apocalypse STORY

[jetblack4realz]

better - jj maybank x reader

summary - in between season 3 & 4 when they're building their lives with the gold and jj wants to get his act together for you

word count - 1.9k

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you were an artist. you always had been - whether it was drawing random doodles on the side of your worksheet in class, or sketching out the boys' names in fancy calligraphy, or coming up with a new layout and decorating scheme for the chateau when you deemed it bland (after john b refused to let you paint all over the twinkie), or even reworking furniture to flip and sell to make a few bucks, you were always artsy. it had begun to work out really well for them.

you designed the surf shop and all of poguelandia with the help of your uncle, who was a contractor by trade. you carefully curated the indoor and outdoor decor, picking out pieces unique to your friends and your story and making it a homely, pseudo-trendy little shop. only when that was finished and you had it running did you turn your attention to your guys' home.

jj loved watching you work. at the moment, you had sarah helping you finish up the paint for the main living room as you put a final coat of white on the shiplap accent wall you'd had jj install for you. you had him put a similar one in your shared room upstairs, but had yet to paint it, claiming that you'd rather have everyone's space finished before focusing on your own.

john b walked in the kitchen and spotted the boy seated at the bar, his fingers typing away at the laptop you had gotten from your parents when you were sixteen - you know, before you'd jumped ship and left home to find treasure with your friends. he grabbed a can of lemonade from the fridge as he furrowed his brows, coming up behind his best friend. he squinted his eyes at the screen.

"job listings? what are you-?"

the lid slammed shut on the computer, jj spinning around with a shake of his head.

"it's nothing, bro, okay? don't worry about it."

john b stared at him incredulously. "j you have a job here. we literally own a business now, what are you-?"

"outside," jj said shortly, standing and walking out the back door quickly, john b following after. you looked up from your spot in the living room, glancing back at sarah with a shrug once the boys slipped outside.

once they stood face to face again, john b gestured for him to go on. "so?"

"look," jj said with a sigh. "i know we've got this shop, and it's so great. but, i just keep feeling like it's all too good to be true. like, we have this money now, but it's all gonna be gone in a second."

"it will be if you're the one in charge of it," john b said offhandedly. jj sighed, running a hand through his hair.

"and i know that too, alright? which is why i need more," he answered.

"why? what's going on that you need more money - and money that's separate from us?" john b asked, staring the boy down in pure curiosity. jj's eyes weren't on him though, instead going through the sliding glass door that separated them from their girls right to where you were painting once more, bobbing your head to the rhythm of the music sarah had turned on. "oh."

jj let out another heavy breath. "you and sarah are like, married now, right? and i can hear you guys when you're talking about starting a life together and me and y/n have started talking about it too recently... just, when the time comes i want to be able to provide for us. i want to be able to go out and buy her a ring and a dress and marry her and never have her worried about finances ever again. we've both had to deal with too much of that."

"wow, jayj," john b breathed out, a soft smile pulling at his lips as he rested a hand on his shoulder. "i'm impressed. you're really pulling it together, aren't you?"

"i'm trying," he said with a sigh. "i've worked a lot of jobs before and i'm willing to do it again. anything to make sure she's happy."

"she'll be happy with you no matter how much money you make," john b promised as he smiled at him. "and we'll all always have each other's backs. even if when y'all decide you want to be together forever you don't have all the money you want, we'll help you buy that ring and that dress and get it done."

"thanks, jb," jj breathed out, but with the lack of a smile and the tenseness in his shoulders still, john b knew he wasn't going to be accepting handouts anytime soon. even if it was still shared money between friends and not just handouts.

you'd recruited him to help finish up a few things in your bedroom, managing to finagle a thrifted and refinished dresser up the stairs and below the tv you'd stolen from your old bedroom. jj began hanging curtains as you put both sets of y'all's clothes away, giving yourself one extra drawer for your extra clothes. he finished before you did, watching you with a smile as you tucked his shirts into the top drawer all organized by color, finally shutting it to be done with the task.

"last thing to do is the bed," you hummed as you turned to him with a smile. you moved to begin pulling the white sheets on, jj tucking the corners before you grabbed out the blue comforter with a simple white stripe pattern that alternated thicknesses. "i nabbed this from my grandparents - my nana always buys them when they're on sale for christmas and never does anything with them."

"i know," he said with a light laugh, grabbing the opposite edge from you and helping you pull it over the sides. "she gave one to me for my birthday once. didn't exactly know why."

"because that's what she had and she probably felt bad," you answered, laughing softly with him. you tossed the throw blanket kie had given you for your birthday a few years back onto the corner to add dimension to the look, finally placing the two throw pillows you'd let yourself splurge $30 on at kohl's at the center. you smiled, glancing around the room before looking back at jj. "there. our room is complete."

he sauntered around the bed with a grin, taking you in his arms and leaning in close to your face as he met your eyes. "our own room, with our things, in our house with our friends, on our land, with our business down the road by our boat."

"our boat?" you asked with a teasing smile, hands wrapping around his neck as he held you close to him. "it's mine too?"

"what's mine is yours, princess," he told you, pressing a short kiss to your lips.

"even the dirtbike?" you asked, a brow raised in jest as a teasing smile tugged one corner of your mouth up.

"well, sure. it's yours too, but that doesn't mean you get to ride it, sweet thing," he answered with an amused grin, pressing more kisses to your lips and jaw.

"our next purchase should be a car. or a truck. an old truck. i like old trucks," you told him as his lips trailed to your neck. he paused, bringing his head back up to meet your eyes again, though his grip tightened on you.

"me too," he mumbled. "but, i think there's something we need to buy first."

"what?" you asked, tilting your head curiously. he glanced his focus between your eyes, a soft smile pulling at his lips.

"well, actually... i already bought it," he hummed. you sighed.

"and how much was it?" you asked, raising a brow.

"does it matter?" he asked, raising his brows as his smile grew.

"jay..." you groaned, head falling back in exasperation. "we talked about budgeting-"

"hey, hey, hey, hold on," he said, pulling you closer to him and catching your eyes again. his smile was mischievous as ever as he turned slowly, turning you with him. "you don't even know what it is yet."

you sighed, a small smile sneaking its way onto your lips. "alright. what is it?"

"well, my first paycheck just came in from working with your uncle, and i thought i might as well get it now," he said, dragging his words in the suspense as you continued to eye him. he looked you up and down, his smile still wide as he winked. "have i told you how good you look in that dress?"

"every time i've worn it," you laughed. "reckon that's why you bought it for me."

"damn right," he said, pressing a quick kiss to your lips. you giggled against him before pushing him back, raising your brows.

"what is it?" you asked, almost eager now. "what'd you buy?"

surprisingly, he released you, stepping back as he shoved a hand in his pocket. his smile was wide, but his eyes softened as he brought his hand out in front of him. he breathed out his next words nervously; "i really hope you like it."

and then he was on his knee, and in his fingers was a dainty, gold ring with a small circle diamond on top. right there, in the room you'd just finished, the room you shared, in the house you and your friends rebuilt, with the shop you owned just down the beach - he was proposing.

"i really want to marry you," he breathed out with a nervous laugh, his fingers squeezing the ring tightly. "you're the love of my life, y/n. i really don't know what i'd do without you. being with you has been the easiest and best damn thing i've ever done and i want to be with you for as long as you'll let me. so, will you please marry me? i promise to provide for you and be there for you and-"

"yes," you said, beaming as you took his face in your hands. you laughed lightly. "absolutely yes, jayj."

he kissed you quickly, standing and wrapping his arms around your waist as he leaned into you. when he pulled back, he was laughing, causing you to let out a few giggles, wiping away a small tear at the corner of his eye. he kissed you shortly before bringing the ring to you, slipping it on the proper finger with a certain look of pride in his eye.

"it's uh, it's not much, it's not even a real diamond but i-"

"i love it," you cut him off, holding his hand as you glanced between him and the ring, beaming. "i love it, jayj. thank you."

he smiled, a breath of relief slipping past his lips as he gathered you in his arms again, spinning you quickly. he pulled back and pressed a chaste kiss to your lips again before stepping back away from you. he let out an excited whoop, grinning at you. he grabbed your hand and pulled the door open, dragging you with him down the stairs.

"she said yes!"

[thedouglastrap]

Something about this post is bugging me, but every time I to put my finger on it, I feel like the reason slips away. So I think I'll just try to sort through it here and see where that leads me.

Mechanical changes impacting play style makes sense, but I think I question the cause and effect here. Because the rules mentioned that "encouraged the GM to think of monsters as real living creatures", morale and reaction rolls, are things that seem (to me at least) less about making these monsters seem real and more about adding more angles to introduce randomness to random encounters. If a random aboleth shows up while you're walking from point A to point B, a reaction roll is a quick and dirty way to see how they view the players, but it doesn't account for what an aboleth is. Similarly, a morale roll is giving a method beyond the DM just making an arbitrary ruling sans dice. That's not to say that a good DM can't use the roll to breathe some life into an encounter, of course, but I don't know if I would say those rules being removed/put in the flavor rather than made a general rule was a primary contributor to a greater emphasis on combat, or if that was even an intentional design choice.

(as a side note: looking up what reaction rolls actually were were, I stumbled onto a blog about the whole OSR thing in ttrpgs, and decided to go down the rabbit hole for a bit. It seems like a lot of the conclusions being drawn in this post are close to issues raised over there, but they tend to include AD&D2e as a point where the shift happened, making it less a TSR/WotC difference)

Now, if there IS a greater focus on combat in that shift, I think it's probably due to the game getting crunchier over time during that shift. 2e seemed to start it off with a wide variety of optional rules, and 3.x cemented it. But notably, it did this for non-combat as well, which makes me think that it was less a design choice to make things more combat oriented and more to provide comprehensive rules, with combat being the most fleshed out part in service to the whole heroic adventure aesthetic.

I think one of the biggest issues I'm running into is the following point about how encounters have to be these justified forced combat encounters and the dissonance this can provide. I think part of that is because that conclusion just doesn't match up with the reality I was seeing playing 3.x or seeing other people talking about it. Not to say combat wasn't the focus, but plenty of non-combat encounters happened, enemies ran away, scenarios were derailed by roleplay rather than combat, etc. And sure, that's anecdotal, but I think it's relevant. The game does, after all, provide individual sections for monsters giving a basic rundown of what the creature is. Some are more bare-bones than other, but when Archons are listed as "never attacking first, but being easily provoked", that's a pretty clear indicator that forced combat should not be the default assumption. If players ignore that, sure, but that's no different than ignoring reaction rolls imo.

The real difference, I think, is the afforementioned shift from a focus on an open world where the party has more freedom to explore and do whatever they want while the world happens around them, to a focus on more structured narratives where the players are characters in a story that is unfolding around them. Its a shift away from "well the dice say there's an aggressive dragon swooping in, have fun with that" towards "I planned out the encounter you're gonna run into between startersville and plotlandia". That also kinda follows from the idea of encounter balance. Having a random dragon swoop in on a third level party isn't a balanced encounter unless the DM goes out of their way to make it one, but that takes more time and prep than rolling a few dice and opening to a statblock can account for. And yes, planned encounters like this can, if done poorly, just be a shooting gallery of forced fights with thin justifications. It could also be well crafted encounters where you could talk down the goblins instead of fighting by opening trade negotiations.

The play style that the difference in design encourages isn't so much "fight all the things vs treat your enemies like actual living things" as it is "how structured do you want this game to be", which is ultimately value-neutral. And the moral disconnect about what you're fighting seems like an entirely separate thing from that. Neither style inherently encourages or discourages that, and it feels uncharitable to say that WotC-era d&d is more skewed to be morally uncomplicated than TSR-era.

So there is a pretty clear shift in playstyle between TSR D&D and WotC D&D: for better and for worse, D&D 3e introduced the idea of encounter balance, de-emphasized mechanics that had previously encouraged the GM to think of the monsters as real living creatures (reaction rolls, morale, etc.), and it had the effect of making D&D a much more combat-focused game. D&D has always been a game that's opinionated about combat, it's basically the most expressive and detailed form of play regardless of edition, but combat in the TSR editions was not exactly zoomed in and tactical. The WotC editions purposefully made combat zoomed in, granular, and tactical.

And this has had an effect on playstyle: since combat is now the main form of player expression what players actually want is for their characters to get into combat. Because combat is the most fun part of the game. But the game has also changed from the largely amoral dungeon-crawling game into a game of fantasy heroics (even though a lot of the trappings of the amoral dungeon-crawling still remain, which contributes to the dissonance), so you can't just have the player characters going into combat for the sake of it. That would frame the player characters as kind of Fucked Up, and we can't have that in our supposedly heroic fantasy.

What you end up with is a variety of contrivances like "they're bandits," "they're cultists," or, my all-time favorite, "they attacked first" to make the action seem morally justifiable, even though gameplay is still motivated by a desire to fight. The monsters fight to the death and, importantly, can often not be reasoned and negotiated with, partly because combat is supposed to be the fun, engaging part everyone is here to do, but also because if they actually acted like reasonable people it could cause dissonance with the whole "the player characters are the goodest heroes."

As my friend @tenleaguesbeneath once called it: what is actually going on is that the player characters are hunting people and monsters who have been programmed to fight to the death and never negotiate for sport, while justifying it as self-defence.

It's a simple power fantasy, and I don't think there's anything wrong with it. Sometimes you want to play a morally uncomplicated game about killing guys with cool magic swords. But I think it's also fun to think about what the specific types of monsters players end up fighting reveals about Society the invisible, unexamined ideology lying under the surface that the designers of even modern D&D have failed to examine. And to me it often reads like a frontier justice fantasy. None of that is to detract from anyone's joy of the game, and for me it's just fun to think about and post about this stuff while Still Enjoying the Game, but if someone expressing that opinion makes you feel uncomfortable, why? That's pretty silly imo.

[animeyanderetalker]

I think this will be a Gojo/Geto/Sukuna thing. If the Darling is insecure about her looks, they will fuck her infront of the mirror/s and forcing her look at herself. Maybe even fuck her, when she is leaning on the window or even Infront of their followers/minions.

Tw: Nsfw, non-con, dub-con, mirror sex, humiliation kink, power display

I 100% agree with Sukuna for the point of fucking his darling in front of his minions. It's just such a power display for him, knowing that he can bully his cock inside of you and have others watch as he rails you into the ground all whilst knowing that no one dares to speak up or voice their uncomfortable feelings with the situation.

I take it one step further and say he'd even fuck his darling in a bloody battlefield of his enemies or even other women who threw themselves at him, offering themselves in hopes of mercy, protection or simply to seduce and use him. If he were to consider you ugly and worthless you would have ended up like the dead bodies around you, dismembered and severed with limbs scattered in all directions.

By all means, sweet-talking and Sukuna are two words that do not belong together and he would certainly degrade you verbally just as much. However, if he tells you that your looks are alright you will stop moping around like a bratty kid and if he has to fuck you to hammer that into your brain he will gladly do it.

Mirror sex I can see most realistically see with Gojo. He would never expose his darling to the eyes of others, especially when she's naked and vulnerable beneath him. Now, considering that Gojo attracts people left and right it is not unsurprising that you might start to get insecure about your appearance because you realise that theoretically Satoru has a lot of choices besides you.

Gojo, as a response when noticing your insecurities, would amplify his affection tenfold. That's when mirror sex probably comes in and with the shit ton of money that he has I wouldn't even be surprised if he designs an entire room filled with mirrors and then makes love for you for hours in that room and no matter where you look, your reflection will always look back at you.

Whilst he wouldn't ever let anyone see you naked I can imagine that in case someone attempts to seduce him and convince him that they're better he makes an audio the next time he makes love to you and then plays it to the other person, clarifying that they could never elicit such sounds from him like his darling.

Geto is kind of tricky because he really struggles to accept the fact that he is in love with his non-sorcerer darling. Similar to Sukuna he isn't the kindest with his words either as he actively tries to put you down so that you feel like the worthless monkey that you are. As his followers share his beliefs I do not believe that he would fuck you in front of them.

There could be a point made for him doing the dirty deed with you in front of other non-sorcerers because to him they are disposable and even more worthless than you are. However, even that is rare and would most likely be used when he really wants to humiliate you or punish you in which case the non-sorcerer being forced to watch might be someone far too close to you for his liking.

At one point he would switch his feelings as he is forced to embrace his feelings more and more. He still is far away from a Prince Charming for obvious reasons as he will never view you as an equal to sorcerers but you are no longer in the same category as the humans he views as monkeys. Then he would be more confrontal if you were to harbor insecurities because he still chose you, meaning that you should at the very least realise that you are more special than other non-sorcerers.

[ppaleoartistgallery]

HTTYD Flocking

today on Paleostream we drew HTTYD dragons!!!!

closeups and design explanations/descriptions below:

terrible terror and monstrous nightmare: you'll notice all the dragons arent hexapods, deliberate choice on my end, not much has changed about the terrible terror tbh, it just only has four limbs now, less spikes, longer feet, and a more crown-like horn arrangement.

but ooh the monstrous nightmare lmao, i decided to shrink it down and remove a lot of its spikes, i wanted to make it a sorta chihuahua of dragons, small and feels like it can pick on everything. but relies on its projectile venom to save it. instead of lighting on fire, it lights its enemies eyes on fire by spraying venom from venom glands along its neck, back, and tail at the enemy

for the hideous zippleback, i decided to give them beaks (cause i felt like it) and make it so the double head is an illusion caused by the smaller sessile male who's constantly attached to the female, the female has a smaller crest and horns which makes the male's smaller head but larger features balance out the silhouettes. the male rides on the female's back everywhere being held in place by his claws and her wingtips, i also made the female cursorial because i felt like it again

the rumblehorn, i went for beetle-like wings and elytra-like display feathers, and for the funny i gave it a rhinoceras beetle head, and two toes on each foot

the razorwhip is a really cool design, but i was thinking that it would be a sleek and efficient killer, so i gave it smooth and dark scales that are incredibly reflective, and a parankylosaur macuahuitl. i also gave it bottom tooth-like projections on its bottom jaw

for the whispering death, i made it a derived ray-finned fish because dragons are anything you want them to be (also inspired by Wyatt Andrews' Rodan design). i replaced its eyes with two white bioluminescent display features, and put its eyes where its nostrils usually are and gave it a gulper eel mouth with a loooot of gill rakers to replace the rows of teeth

the red death, i decided to keep its size large, i took a lot of sauropod inspiration from this one. airsacs replaced the posterior two eyes, and i gave it a tail club and tooth-like keratin projections on the lower jaw

we ended with the shellfire, even as a kid i hated the design, at this point i was on four hours of sleep and had been awake for about 12 hours, so i just made an over-sized placoderm with spurs on the side of its head, cause dragons are anything you want them to be

[crystallinekitties]

hello graha artists and scholars: graha's hair discussion! (partial hc in here)

i simply noticed his braid was thicker and longer in enw than the character creator hair he had in arr so i needed to discuss why.

the arr hair and the exarch hair are the same hair, but for whatever reason the exarch was given a different highlighting pattern than the CC hair, which would make you think the hair model itself would be different but it is not!

arr graha:

a note i didn't make on the image was the fact that because the arr braid is more one whole polygon, i'd say it is more akin to a fishtail braid. how he did a tight fishtail himself, good question, man's dedicated to making his hair much more complicated than it needs to be if his oh-so-cool warrior of light will see it. he makes it tight for bow/arrow retrieving practicality.

(and a personal hc is that he also goes for a braid instead of a ponytail because a braid can be a lot less tension on the scalp/ more evenly distributed tension, being a reliever for his chronic migraines) -- ((im sure i will eventually make a text post just going in depth about all three grahas' disabilities because i feel people see it obviously in the exarch but forget the invisible disabilities enw and arr graha have as well)

moving onto his bangs though, why keep them long if he's a bowman? he says he was bullied for his odd colored eyes, hence he covers the more jarring color with his bangs.

enw graha:

looking at the way his enw braid is sectioned off more and looser makes me think it's a standard three strand braid. it makes sense he's being a bit more practical, he doesn't have time to do a fancy braid but still wants to look nice. he doesn't need to worry about a bow and arrow anymore so he grows his hair out a bit more, likely puts it in a ponytail on lazier days.

he puts his hair into fancy little pins and pushes it from his eyes: this is more a character design choice to show he's opened up more since being a cloistered scholar. he looks wide awake! in universe though (hc) it was absolutely a tataru fashion choice that he adopted.

exarch graha:

now do i think the exarch is doing a fishtail braid in the morning? no not really. i don't think he honestly has the finger dexterity for it in his crystal hand. it's visually the same as the arr braid though, so what? fishtail on days lyna helps him cause he needs to look cute for his warrior -- twist or ponytail any other day. he doesn't need to worry about it being tight or short, i think he just leaves it short because it's easier to manage and stay under a hood.

why keep the bangs long if he's trying to keep his hair from coming out under the hood? that's a good ass hood tbh he's good at keeping it from peeking. but beyond that, i believe it's still his attempt to hide. he covers his eyes so if anyone peeks under the hood they see white hair first, not the blaring red eyes. he's supposed to be a warm and inviting (if not mysterious) figure to his people and to the scions. looking back at arr graha, he covers his red eye because it's jarring, so he continues to cover his eye even after losing the hood to maintain some of that warmness.

ok thanks that's all - add your own HCs i would love to hear them <33333

[lairofsentinel]

Info compilation of Lucanis Dellamorte (part 1)

Warning: I’m using the incorrect lore that this game has since it is the one that they built the game upon. Inconsistent things such as “The Lighthouse is in the Fade” or “Mind imprisonment” nonsense are not dismissed during this compilation even though they are strongly questionable.

Unfortunately, Lucanis character has a lot of issues in his writing; sometimes conversations feel like they were written by three different persons and the game ends up with a frankenstein dialogue which can be barely followed, and one needs to fill in the gaps to keep it somehow cohesive and coherent. Besides, there are several times where he suffers narrative inconsistency: he says something that gets contradicted mid-game without being part of his “development”, if he has any.

Also, I apologise in advance for my bitterness that sometimes spills into the text like the Blight when it comes to the murder of the Lore that Veilguard has done to the DA world.

The current post has the following sections [bold ones]:

Approvals and disapprovals

Body Language

Eyes

Why the pantry?

High focus, cool head, and professionalism

Food and cooking

Mage-killer specialisation and previous jobs

Death and Life

Crows and Family

Spite and Possession

Sleep and Coffee

Flirt and Romance

Lucanis’ Logbook

Others

Info compilation: Part 1 || Part 2

[this post will be likely updated briefly after I do a playthrough without saving Treviso in case additional information is shown, but probably won't be much]

Approvals and disapprovals

He mostly approves the “determined” and “focused” options [punch/armoured icon] which align with his personality: no giving up, focus on the goal ahead, and enduring the rough consequences. He tends to favour a resolute, blunt approach to problems instead of a diplomatic one. He also approves hard criticism with cold facts, instead of “therapist talks”. However, when it comes to family and loss, a sympathetic approach is approved, showing he is not 100% cold and facts. There is room for kindness, especially among the people he considers “family”. 

In some of the approval situations, we find that approaching Lucanis with the stern/aggressive option to his failure in killing Ghilan'nain earns us approval, showing us, potentially, a glance into the treatment Lucanis endured under Caterina.

He disapproves in few instances [like all companions in this game], one of them includes humiliation in front of the Crows [Biding Farewell] that can be understood as a break in the trust he put on Rook to ask them to come with him in order to keep Spite in check in case he gets out of control. Taking a diplomatic approach when the situation requires immediate action is also another way to earn his disapproval [Option of convincing the First Warden]. 

Body Language

His body language is always tense and awkward. When he starts to talk to Rook, there is a soft swing of his shoulders, as if he were not sure what to do with his arms or hands, then he stays standing in a very rigid way, hands most of the time closed in fists. 

When he is outside the pantry, we can see he remains in this tense position and only sometimes we caught him rotating his shoulders and head, showing how much tension he is always carrying [this also can be reinforced, despite being a joke, with the dialogue that Lucanis and Davrin share about his sudden possession being a tension in his shoulders].

Another position in which we often find him is with his arms crossed when drinking coffee, which tends to be understood in body-language design as a self-defence/protective position/wary position. Again, a position that shows his constant alert state. 

The only position we see him do with some confidence without much tension leaking into it is the one leaning against the wall, usually done when he is thinking about something. However, even in that position, we see he is trying to release tension from his neck. 

In summary, his body language is a reflection of what we learnt in the story The Wigmaker job: Caterina’s training was focused on punishing him with her cane every time he let his guard down [or made a mistake in his footwork]. Now he has been conditioned to the point of being unable to relax.

Eyes

Most of the time, he speaks with a soft frown, and intense eyes locked into the interlocutor. When he is not in a conversation, his eyes tend to be deadpan, emotionless, and there is an intention in their design to try to convey discomfort due to their intensity. This is an attempt to recreate his gaze as described in Tevinter Nights: “As they [Illario and Lucanis] walked through the crowd, he [Illario] basked in the appreciative glances he received, while Lucanis stared ahead, focused and intense. He was the kind of man you couldn’t look away from—until he looked at you.” 

When talking about work and plans, his eyes get locked in this intense, menacing look. Only when the conversation shifts to personal matters, to things that may hint some level of vulnerability [family or loss] or shame [possession], he lowers his sight or looks aside from time to time. 

This pattern is broken once there is some comfort with the person he speaks to and his eyes stay fixed on the interlocutor, or let him see them with his most soft, relaxed looks [Harding’s coffee scene, and Rook’s scenes].

Why the pantry?

He is evasive when explaining why he picked the pantry as his room. Rook-Lucanis banter makes it imply that it is a good place to choke everyone who wants to attack him. Taash-Lucanis banter suggests that Taash perceived the real reason: he “hides” in the pantry to avoid the excess of “Fade” from the rest of the Lighthouse. In Harding’s banter he says “it’s easy to trap Spite, and there are snacks. And no view of the Fade.” So this seems to confirm Taash’s suspicion. We get the idea that the common, main reason why he prefers this place is because it “keeps the Fade away” a bit, and probably makes the symptoms in his eyes less prominent. If we find him outside, close to the stairs, he will claim that the back of his eyes are itchy. 

Another interpretation is related to his imprisoned mind [Inner Demon]. Another potential way to understand his insistence in remaining in the pantry belongs to the coping mechanism he chose to use to process his traumatic experience of capture and possession: he remains in a cell-like environment because it brings him the comfort that he would be more contained and would not hurt unnecessarily the people he cares about [Rook, the team]. However, his situation in the pantry does not change once Rook helps him in processing this trauma, so I’m inclined to think it’s more a Fade-related cause than a coping mechanism of his recovery from the horrors of the Ossuary.

It’s also important to highlight that in his Logbooks we learn he has some mixed feelings with the sense of time that the Lighthouse gives, and seems to compare it with the timeless sense of the Ossuary. It’s clear that not having a cycle of day-night in this place makes him as uncomfortable as he was in his prison, and that may be another reason why he is in the pantry, which has no windows [so he can’t see that the day-night cycle doesn’t exist].

High focus, cool head, and professionalism

Lucanis is presented as a character who over-analyzes situations to have the perfect outcome. This is part of his professionalism. It is also what helps him focus even when he is dealing with personal issues as his new condition as an abomination. His personality seems to be more than adequate for feeding a Determination spirit, which twisted becomes into Spite. Spite mostly in the sense of “doing things/keep on doing things out of spite”. His whole arc is based on this concept of Spite: resisting, enduring, and keep working despite all the obstacles, in a “harmful” way [which is granted automatically by his profession as an assassin].

He endured Caterina’s training, and the Ossuary, because he wanted to live. There is a stubbornness in him for living, no matter the cost, and hence why he struck a deal with Spite in the Ossuary so he could not be used by him as a cocoon. 

In terms of lore, if we assume this game kept any [very bold of me to think so], it would imply that Spite is comfortable in this host because Lucanis keeps feeding him the emotion that is his nature. And not only that: Lucanis’ determination also could potentially feed the “original” emotion that Spite was. It’s hard to know if this was originally a hint for a future transformation of the demon back to his spirit form [as we saw with Cole in Asunder, or with Solas’ friend in his personal quest in DAI]. So, determination and high focus with a high threshold to endure adversity are traits quite clear for his character.

His cool head is also shown when he discovers that Caterina was killed. His first reaction is “I need to work, I need a target”. This shows not only his high-focus personality, but also the state in which he has been during all that year in the Ossuary: he survived because he shut down his mind and emotions, and focused on a goal: escape” [Davrin-Lucanis banter]. Now he is doing the same, but with work, so he can avenge Caterina’s death.

He doesn’t dwell on his mistakes, but analyses them [Harding-Lucanis banter]. The high focus and cool-head trait is also present in the way he approves several options related to not wasting time on trivial things and focus on the target ahead. Questioning flawed logical sentences also earn his approval [Coffee with the Crows], reinforcing his taste for analysis and logical thinking. He does not accept being called paranoid for being logical. [Coffee with the Crows].  

Another instance where we see his exhaustive focus is during Caterina’s funeral [Bidding Farewell] where Lucanis asks Illario in an intense way more than 10 questions, extremely focused on how Caterina was killed. This shows some level of emotion in him, but also this control-obsession personality of his: he is already working to find the target, to avenge Caterina. As his logic continues he claims that since the First Talon was the sharpest of all the Crows, it was impossible to catch her unaware, the reason why her death makes even less sense [Bidding Farewell]. This attitude also reinforces the idea said above about how relentless he becomes when he has a target and a clear goal [he goes on out of spite]. I think part of the writing in this aspect, so “obsessive” may have been reused from his original design: he was meant to struggle with a spirit of Passion turned into a demon of Obsession, but it did not make it into the game [Game file description of Spite]. This is also, potentially, one of the sources of so many narrative inconsistencies, I assume.

Professionalism is a constant in his character and may have been the main wall to break in order to approach him had he been written as a real Bioware character. It’s not only the cool-headed and high-focus personality, it’s also his insistence in seeing things devoid of emotions as much as possible, translating all into contracts, finances, or fair exchanges. Things must be done with logic in it and a lot of professionalism. He claims that he owes Rook for rescuing him, so the reasons to accept this contract with Rook is not just the last contract ever given by Caterina to him [sentimental reason], it’s also a personal debt he feels he has to pay out of professionalism [logical reason, it’s a mere exchange: he has to do his expertise of killing mages to justify the ordeal of having been rescued]. 

He encourages to delegate tasks that are not of his expertise to other professionals. This may be a reason why he has a contract negotiator who keeps track of the ratings of his work and other aspects [Bellara and Neve banter]. He always agrees and approves of Rook letting experts do their job [perfectly following Taash’s explanations in how to hunt dragons], showing how much he values professionalism and specialised expertise not only for himself. 

We see more of this aspect of self-control in Bloodbath, where he faces Zara. Spite is taking control of his body as he wants revenge, but Lucanis stops the process when Zara offers to give the name of the traitor Crow. The control lasts until Illario appears and kills his target, making Spite impossible to control. However, even in that state of rage, an aspect of Lucanis can surface to ask Rook for help and prevent him from killing Illario. That is a testament of his strong will, his focus, and his sentimentalism as well: he fears deeply to release a demon that can kill the people he cares about.

Food and cooking

He [and Bellara] are the main cooks of the group. They dismiss Harding’s [lack of] cooking skills. [Lucanis-Bellara banter]

Lucanis loved Cioccolata calda as a child, and “grilled treviso with citrus bagna cauda” as he was growing up. [Personal quest and Lucanis-Bellara banter]

He learnt to cook when he was a boy, helping the kitchen staff of the Villa. It kept him entertained between Caterina’s training, but his main goal was to learn how to make churros [Emmrich-Lucanis banter].

His care for the people he loves is partially shown through his food and in how thoughtful he is with what everyone eats/drinks. [Whole game]

Lucanis has a strong rejection of tea [Coffee with the Crows quest] and claims that he doesn’t require the comfort that tea offers. He requires the “jolt of wakefulness from a brew as bitter as a year in bondage beneath the waves” [Harding-Lucanis banter, before Inner Demon]

Food is one of his care languages, as well as his apologising one. The more he cares for someone, the more he focuses on their preferences and tastes.  He also keeps track of every detail of the group: in his quest to do shopping, he picks a potted plant that prevents bad dreams for Harding, seafood special for Bellara who wants to try Dalish dishes, a bone for Assan to chew on, fine glassware for Emmrich, and fresh fruit for Neve. He only does not give anything special to Davrin nor Rook [lol, narrative inconsistencies]

Mage-killer specialisation and previous jobs

He was called Demon of Vyrantium before the possession. This reputation made him famous among the Shadow Dragons due to his expertise in killing Venatori. His services as Demon of Vyrantium are very expensive [Neve-Lucanis Banter]. He suspects that it was Viago who started the title in the Tevinter news sheets and it simply stuck [Emmerich-Lucanis banter with Crow Rook].

He has a high focus on being professional. He wants to get the job done, clean, and complete without caring about the “manners” [Davrin-Lucanis banter]. He claims that Caterina taught him to work in this way, since he makes a difference between completing a job and doing a job well, something that Illario never understood. This is reinforced in some codices when Lucanis killings have a clear professional touch, while Illario’s are a bit more “extra” or “show-off” [Imperium Secret: A Fortunate Heir ].

He ended up specialising in killing mages due to Caterina’s decision of targeting new markets. In the South, mages have no power, so there are no contracts for them, but in the North, they have status and therefore, enemies. He claims that the mages in Nevarra are especially dangerous because “Fireballs are not a threat like coin in political pull” [Emmrich-Lucanis banter]

He repeats that there is a difference between murder and assassination. Murderers, in his perspective, are hobbyists and they are not paid. 

There is no secret technique to kill mages: “be fast, strike hard, and stay out of sight”, and if it doesn’t work, “piss them off” so the demon will eat them [Harding-Lucanis banter]. Lucanis claims that his technique to go after most targets, specially mages, is similar to Taash’s technique of hunting dragons: create a distraction, hinder their escape, hurt them to break their concentration, and finish them off. He adds that it’s like a dance, or a seduction [although he is not sure about the latter] [Taash-Lucanis banter]

He can put himself in his target’s shoes more out of practicality [to better track them down] than sympathy. [Emmrich-Lucanis banter] 

Lucanis doesn’t like necromancy, partially because of his experiences with the Venatori, but also because it complicates his work [Emmrich-Lucanis banter]. There were contracts that needed to be rearranged when the target was killed and later reanimated [Neve-Lucanis banter].

He has taken other contracts that do not involve mages. He claims that he never killed an innocent, by his count [Emmrich-Lucanis banter] but he is aware that his count may differ from others’.

Lucanis has a particular vision of his profession that mitigates moral conflict: he claims that “death comes to everyone, in time. He is just paid to deliver it quickly”. [Emmrich-Lucanis banter] This argument was exactly the same one used by Zevran in DAO.

Lucanis is evasive when asked how he decides when a target deserves to die. He claims that the target has to have “merit”, usually decided by the Talon of the house. He thinks that killing meritorious targets is “providing a service”. If the target doesn’t deserve to die, he still insists on seeing his job as a way to speed up the natural process of death [Davrin-Lucanis banter], returning to the previous argument in the item above.

Despite claiming to never fail a contract in many of his scenes, Lucanis narrates two episodes where he decided not to kill the target and, by extension, break the contract [narrative inconsistency]: “Once, a target killed an important politician and went on the run. The family wanted retribution” but he let her live. “She was a servant, and the politician had been beating her. So the servant returned the favour”. The other case was a teenager of 14 y/o who robbed and poisoned a man. Lucanis claims he “doesn’t kill that young since there is still time for them to change”. [Davrin-Lucanis banter]. The first episode brings the Lucanis we saw in The Wigmaker Job to our mind: he supports revenge from victims of any kind of abuse, and maybe this interpretation allows to give room to the concept of Spite and how comfortable he may be in this host that supports this kind of emotion. In the end, these inconsistencies make us feel the character was written by several people and never truly synthesised.

Lucanis knows quite a lot about Grey Wardens because he had contracts with them, specially with Wardens that, fearing the Calling, hired him to kill them. [Davrin-Lucanis banter]

He has a contract negotiator that he keeps offering to Bellara and Neve [Bellara/Neve-Lucanis banter]

Another aspect of his love/care language is by promising to kill all those that endanger the people he cares about without the need of a contract involved since “it is on the house” [several banters].

Death and Life

He sees death as a place of rest and oblivion: “Everything dies. People, cities, empires. Fashions. Your favourite song. Things fade and are forgotten. Why would you want to outlast what you love? It sounds like a terrible fate” [Emmrich-Lucanis banter]. 

He has normalised the concept of death that he is not affected by it, or at least not in the same way that normal people do. After narrating how he lost most of his family during a Crow war for the First Talon title, Bellara apologises for asking about Lucanis’ family. However, Lucanis answers with a cold response: apologies and sympathy are not needed, “if anyone knows that people die, it is an assassin” [Bellara-Lucanis banter].

We can also see that these small pieces of information about death gives us an idea why in his romance [despite being poorly written] he claims that “all what he knows is death”, and there is an implicit meaning in it: he knows that all what he can hold dear will die eventually, and all his life is made of loss and death. His family’s business is Death as well. Hence the fear of losing Rook, because there is a certainty in it. Eventually it will happen. However, this attitude is fought against with his trait of relentlessness, of not giving up: he will spread death to others in order to prevent Rook’s death [I know the scene doesn’t convey this truly, but it is what I think it tried to imply, specially if put in contrast with the others in which Lucanis speaks about killing the enemies of Rook to keep them safe].

Despite being so involved with death, Lucanis still reaches for life: it is his desire for life, for survival, what kept him alive in the Ossuary and willingly to make a deal with Spite. No matter the cost, he wants to live. He appreciates the simple moments which he considers worth fighting for. He believes that “one has to live fully to live truly”, but he acknowledges the irony of that sentence when it comes to his life: always determined by Caterina and the expectations of the Crow. However, after asking him if maybe the Ossuary shifted his perspective to look for change, he claims that what matters the most for him is the people he is with [Coffee with the Crows]. This shows that despite having a desire to “live fully and truly”, Lucanis always chooses to stay with the people he considers “family” because at the end of the day it is what matters for him. Unfortunately, this is what the game tells us. In The Wigmaker Job, I think we can suspect hints of need for change in his character, but these were never developed in the game. 

Crows and Family

Lucanis’ mother died when he was young, during the war of succession among the Crows. All his family died with the exception of Caterina, Illario, and him [Inner Demon quest]. He was raised by Caterina alongside with Illario [Taash-Lucanis banter].All his family memebers were Crow and he claims that “Death is the Dellamorte family business” [Bellara-Lucanis banter]. However, he claims that the responsible ones for his family's death have been “ash and dust” for years, so his family must have been avenged, I assume by Caterina. [Bellara-Lucanis banter]

He describes Caterina as intense, hard to live up to her expectations. He knows she is proud of him but also knows she will not show it [Taash-Lucanis banter]. He says it was hard to be close to Caterina, even for him who is her favourite, due to his pleasing-behaviour most likely. Teia confesses that Caterina claimed that Lucanis “could do no wrong” [Bidding Farewell] which Lucanis dismisses, claiming that it’s easy to look good compared to his cousin. 

When Rook gives a wyvern-tooth dagger to Lucanis, he claims that Caterina did not allow him to have one [why? It was a dagger after all, and Caterina was teaching him to be an assassin. More narrative inconsistencies]

Lucanis assures us that his grandmother lived an exciting life: she killed a man with a thimble. [Harding-Lucanis banter]

 He calls Illario his cousin but he sees him more like a brother and his only friend until Rook appears in his life [Personal quest]. He and Illario were taken in when they lost their parents, and were submitted to Caterina’s training, which is described as “torture”, but despite resenting her when Lucanis was younger, he does not do it anymore [Personal quest]. I suspect this is because Caterina gave him the tools to survive the unforgivable, rough life of a Crow. Because her family was weak and not prepared, they were wiped out by the Velardo House. She must have decided to save the little that remained of her family through punishing, tortuous training, teaching Lucanis in particular to never let their guard down. We know via The Wigmaker Job that she hit Lucanis’ back with her cane every time he messed his footwork or let his guard down, keeping in him a conditioned reaction of a tingling sensation on his back and a personality that prevents him from relaxing. The abuse of Caterina was undeniable, but it was a “Crow” care language, twisted as crow life is: they had to become resilient survivors if they did not want to end up dead as well. 

He claims he knew he was going to be a Crow when he was young. And he wanted to be one “most of the time” [Neve-Lucanis banter].

His training as a Crow involves “acrobatic work from the time they are children. It’s brutal and punishing”. [Taash-Lucanis banter]

Lucanis cares about Ilario despite knowing he “is impulsive and has his head in the clouds”. Lucanis had to keep him out of trouble more often than not, but “he always stood by Lucanis through his own”. [Pantry banter].

He narrates briefly 2 anecdotes with Illario: 1) He spent 4 hours in the market with Illario once looking for silk gloves to impress a woman that Illario was interested in [Shopping quest]. 2) In the quest “The price of the past”, there is a blighted wreckage ship in the sea, which triggers a short narration where he claims that, putting aside the blight, such a sight is how he ended up after a sailing day with Illario. 

He confirms that regular Antivan afternoons are about “danger, intrigue and family drama” [Bellara-Lucanis banter]. Talking things in his family is about waiting for a public event, for example, Caterina’s birthday, and making a scandal that ends up with Viago and Teia soothing the situation by force or poison [Harding-Lucanis banter].

When it comes to family, he has a pleasing-focused behaviour [“he wants to make happy everyone around him”], trying to agree with his family members, hence why he follows all the expectations that Caterina put on him, and has low conflict with Illario [until his personal quest goes on], Teia, and Viago. He is a mirror of the pleasing-focused behaviour that Harding has [Harding-Lucanis banter and scene of coffee with Harding]. This is a potential explanation of his low conflict behaviour in the team [but we all agree it’s mostly the general sanitised, bad writing of the game].

Lucanis claims that from the dozen Crow houses, he would only recommend five [Emmrich-Lucanis banter].

Most house leaders are family by blood or adoption. The rest of the houses “recruit” people from armies or trades. And sometimes, promising Crows are poached by other houses. “Stay with a house long enough and you will get the family name”. [Bellara-Lucanis banter] [we all know the lore of the Crows is a lot darker than this, but this is Disney DAV]

He teaches Taash how to “kill with flair”, showing that the line “the Crows send their regards” is intimidating enough to let others think that their target’s death meant nothing. The line has to have manners too so the contrast accentuates the effect. The goal of the clever line is to unnerve the enemy, so they don’t swarm the Crow when they are still vulnerable after the strike. [Taash-Lucanis] 

He asks if Divine Victoria is dangerous, explaining that the Crows have a lot of contracts for her [Harding-Lucanis banter] which shows how he is always low-key gathering information for future jobs.

[rookinthecrownest]

Discussion about romances + expectations under the cut (I'd put it as like..mildly critical, but also coming from a place of understanding?). As usual, will tag as such so you don't have to engage/read on if you don't wish to. I always invite open discussion, just keep it respectful (as I will endeavour to do so myself).

This is going to be a bit of a ramble, so I apologize if my thoughts are not clearly laid out like they should be.

I think I've found the reason why I (and maybe others), feel that the romances in Veilguard feel a bit... idk, hollow, at times (not BAD!!! just feeling like there could be MORE). And that's because of the trap of expectations. I may also be speaking completely for myself here.

Anyway, let's rewind to 2014.

Be me, 10 years ago. You're not really a gamer, but indulge in action RPG's casually.

See a commercial for this hot new game coming out called Dragon Age: Inquisition. Be intrigued by the character designs, but know nothing about the world. Come to find out it's part of a trilogy. So naturally, you buy the first two games and play through them before playing the third.

Be amazed, and completely hooked on the characters, the lore, the world, the darker elements and themes. It becomes your favourite game series of all time.

But you had no idea that you could romance any of the companions going into the experience. And man, does it fundamentally rewire your brain chemistry to fall in love with cRPG and get ridiculously attached to your Warden/Hawke/Inquisitor.

So, you romance Alistair first because he's funny as hell, and has a really interesting story/character arc. Then you romance Zevran, and love that too - he's charming and suave and awkward and funny. Then you go onto DA2 and romance Fenris and Anders, and each of those romances pack their own emotional gut punches. Then it's finally time for DAI, and predictably, you go for Solas (a veritable slow burn that spans TWO games), Cullen, and partially (I never finished those playthroughs lol) Blackwall and Dorian.

I had no idea you could romance companions going into these games. It was a pleasant surprise! It always felt like an important part of the story, while not overshadowing the main plot. There was enough material in the codexes, the cutscenes, and party banter to make each romance feel complete and whole and awesome and nuanced.

And then, like some of you I suspect, I read an article that touted Veilguard as "The Most Romantic Bioware Game Yet", and I thought - "Wow, if they're saying this then the romances must be something else", given the quality of the previous romances you've experienced in these games!

But you get to the game - and while you're having fun, it definitely leans more into the ARPG style where romances feel a bit more pushed to the side in order to tell a certain story than the traditional Bioware/Larian RPG experience you've come to love.

Which is fine! Again, once I stopped thinking of Veilguard as a classic Bioware CRPG, and more like GOW/The Witcher, I found I was able to appreciate it a lot more for what it is. Things have to Happen A Certain Way for the narrative to work, and that's not a bad thing. DA2 was similar - it was a harrowing, personal tragedy about the Hawke family and their struggle to survive in Kirkwall.

Just like DA2, there are aspects of Veilguard that make me glad things happened the way they did. I'm not mad that Rook has so much dialogue without a ton of player input and you can't 'be evil' - because the game doesn't make sense if you can. At its core, Veilguard's narrative is centered around Regret, after all - you can't have an evil protagonist running around because Solas' Regret prison would never work (evil people don't generally tend to regret their actions...)!

Now, if you're expecting a long-winded, fully researched academic breakdown of every romance I'm sorry but that ain't happening tonight lol. This is not based in any fact, this is all opinion.

I can't quite put my finger on it, but sometimes it feels like the romances in this game (and I say this with the biggest grain of salt as I've only done Emmrich and Lucanis' - and am going through Neve's now), are just missing....something, to take them from good to great.

I loved Emmrich's romance. I thought it was very well done. I think a lot of people would agree it's one of the stronger ones in the game - doubly so if you play as a Mourn Watch Rook (you get a TON of MW specific lines going this route, it's great). His side romance with Strife if you don't get together is very cute, I enjoyed it. But as superbly well done as it was, somehow, I wouldn't even put it in my top 4 Bioware romances.

With Lucanis' romance - whatever my hangups may be about how it was handled, certain parts of his romance were done excellently (even better than some of the previous Bioware romances, I'd say). You can read more about my thoughts on his romance here which is why I'm not going into detail about it. Unlike Emmrich's, I would put it in my top 4 because I fell in love with the character that much (both in the game but really, I've loved him since Tevinter Nights), and I've grown very attached to my first Rook and him as a pairing. I've seen others share a similar sentiment on here (and I hate to say it but I agree) - sometimes it feels like I fell in love with Rookanis despite the way it was handled, not because of it. I can't say that for many other romances. While it's been fun to think up a lot of HC/write fics/make art about those abandoned concept sketches and parts where I felt the game could have showed us more of their dynamic, I can't help but feel like his (and other) romances would have immensely benefited from even 1 or 2 extra small scenes to flesh it out a bit more if they weren't going to let us freely talk to our companions.

The issue with the romances might also have something to do with the pacing of the game itself. I think Act 2 is where the pacing goes a bit awry, before picking back up in Act 3 (which is great, I love it).

Sometimes I also felt that there was a little too much reliance on codex entries and party banter to tell the story of the romance rather than showing it explicitly through cutscenes. I think that's what makes the romances feel a bit truncated at times, compared to the previous entries? Some of the romance-specific party banter was so good, it probably deserved its own cutscene. But it's also highly dependent on the party you have, and it's easy to miss/not trigger. I remember absolutely living for the cutscenes in the first three entries and I can't explain why I feel like, subjectively speaking, Veilguard just has less romance content (this may not be objective reality - I haven't compared the amount of romance specific content head to head with other games).

I also couldn't tell you why I feel DA2 doesn't suffer the same problems as DATV in terms of romance interaction - because you can't freely talk to your companions in that game either. Yet somehow, it always felt like I was getting enough of them to not notice that. I do miss being able to chat my LI's ear off and ask them questions about their life/their views/etc. like I could in DAO and DAI. I think it's a shame we can't because the companions in DATV are SO interesting. I want to ask them all a billion questions about their lives/stories/etc even if they're not my love interest. The party banter in this game is immaculate but being able to talk to them individually about this stuff would've been SO nice. I feel that I've missed out on SO MUCH of these characters just because I didn't have two of them in my party at the same time!

Anyway, I need to wrap this up.

In closing, perhaps, if I hadn't read that article about how it was going to be Bioware's most romantic game ... maybe I wouldn't feel this way? I think it sent my expectations through the stratosphere, and that's no one's fault but my own. Not Bioware, not EA, mine.

I know that this game's development cycle was a unique sort of hell that the other games didn't suffer. To go from Joplin -> Morrison -> Veilguard. To have so many of the original staff leave the team when Joplin got scrapped. To have to pivot from Live Service and then back to single person RPG. More lay-offs. It's a miracle this game got made. I'm happy I can sit around thinking about it. And I hope its successful enough that we get DA5 so we can all sit around dissecting that in 5-10 yrs time.

Don't get me wrong - I enjoy the Veilguard romances for what they are. I'm enjoying them more I play and discover additional banter/codex/etc that I missed the first time around. Like any Bioware romance, there are spots where they hit their stride, and spots where they falter a bit. When they hit their stride they knock it out of the fucking park. But when they falter, you can really feel it. Romance is hard to write! And you'll never fully please everyone.

But a small part of me wishes I'd gone in blind, and checked my own expectations a bit.

Maybe you agree, maybe you don't. Tell me about it. What was your experience with the romances? Did you also read that article and get your expectations up?

I hope this makes sense.

Kind regards good fandom folks,

Keep the discussion respectful. And please don't use this post as an excuse to just blatantly hate on the game.

-Rookie

[clegfly]

PUTER MASTERPOST AT LAST!!!

If you’re one of the people that asked me for this, the wait is over!!

To my pleasant surprise since I started it puter has become probably the most popular thing I’ve made which I’m SO grateful for… so, I thought it only fair to give the people what they ask for and make a full master post compiling all the content I’ve made for the au thus far!! This will be updated as I post, hopefully.

Keep in mind that puter is still a work in progress, so there will be a lot that doesn’t work or make sense yet, but trust me, I’m working on it! Remember, patience is key!!

So, without further ado, here it is!!!

Quick Summary

For anyone wondering what puter actually is, here’s the gist:

Following the events of OMORI’s neutral ending (specifically the one in which basil dies… specific variation of THAT isn’t too key at the moment but that might change for plot reasons…), five years after the move, with some help from his mother, sunny is improving… very slightly. In fact, he’s had enough motivation to pull together a shitty little flash game, fuelled by his past passion for them. He’s still not fully all there, and he still spends most of his time in headspace asleep, but now he has SOMETHING to work on outside of it, and it’s giving him the slightest reason and encouragement to wake up each morning. The slightest.

And, notably, one of the characters in said shitty flash game is actually based on Mari… Even when he isn’t really trying to, he ends up putting her in the game anyway, because he wants mari to be safe, and he’s so consumed by guilt and regret that he feels obliged to make her in worlds where she can be okay. Another sort of subconscious way of both immortalising her and apologising to her in another fun, perfect world of his design, where no harm can befall her, and everything is perfect. He didn’t kill her. They never argued. Mari is okay. Mari is fine, again. He’s sorry. He’s so, so sorry.

However… this stand in mari character actually gains sentience and becomes self aware, convincing itself that it truly is mari… leading to a LOT of stuff. We call her “mariware” over here, by the way!

The au’s actual storyline takes place years after this, following kel after he visits sunny’s mother five years after his mysterious suicide, and possessing a flash drive containing her son’s game… and, as we know, something else.

As stated like thirty times at this point… VERY work in progress!!! But I do have most of it figured out… though I’m not sure how to convey it as an actual story yet… but that will come with time, I’m sure!!!

Lore/ Canon Posts

Posts I’ve made for puter which are actual pieces I’ve put thought into and are canonical to the au. Have fun!!

ERHUSGKSCAE UEGGVXAE

SILBVRUW

IHX UEPJMCE

BUKLIEGV!

ULTAL QTMKE

UUG

Doodles/ Sketches

Here is where you can find all my non-canon doodles and sketches for the au!!

Concept art

Awful dithering test

Cleg gets the artstyle right for the first time

Click and drag

Antivirus

Club penguin

Kel design concept sketch

Microsoft paint

Mariware bromine brush 1

Mariware bromine brush 2

Mariware boingoingoingoing

Wrong

Fries

She wants to KILL

Heromari

Get a job bozo

Sir this is a Wendy’s

Teaser

IHX IVPJMKEL

…

…huh? Is something else meant to be here?…

…

…maybe it’s not ready yet.

[slightlyhopefulromantic]

aaand here's deadlands! it didnt take seven months this time, who cheered?

i'll probably do another post grouping all of my line-ups together, but that's gonna wait for when i do the wyrdwood PCs as well :] more thorough design thoughts/smaller details will be under the cut, but im putting this here so that everybody has to know: their eye shines are all different card suits, except for nate, who gets J for the joker card :]

oxventurers guild | the hobby horses

unlike my other designs where i let everyone have individual colors/palettes, i tried to keep colors more consistent across these designs! the oxventurers guild has the fantasy element and theyre all very different, so the wide mishmash of colors are fine, and the hobby horses all have a lot of dark colors so that keeps them looking consistent together. but for these guys, i wanted a more consistent feel, so i tried my best to reuse colors between each design (especially between delacy and nate ^-^)

silas - ough. my boy. i wanted him to be broad with a strong build, and i hope i pulled that off :D i had so much trouble with his hat that i almost just didnt give him one, but eventually i decided it was better to just. give up and rock with it, even if he looks a bit like a mountie hbjgfjhd and he is wearing cowboy boots, theyre just tucked into his pants because he doesnt feel the need to flash them (looking at delacy, lol). he has spurs on his boots, even though he doesnt ride horses, because he likes the way they jangle <3

garnet - people really liked it when i gave garnet dark roots, so i have decided to always give her dark roots. i like how it looks hehehe and i also like to give her freckles!!! i think theyre cute!!! for the vest, i struggled for a while trying to capture the vibe of jane's vest, because its so so strange and specific in a way that makes it impossible for me to picture garnet without it. i'm pretty happy with where i landed with it, especially the pattern, since i've never tried to make a pattern like that before :3 i dont know why ive been loving patterns so much lately LOL but i will keep riding this wave and regret it later when drawing the designs again

edie - definitely the furthest departure from canon outfits, though still in the right wheelhouse. i just don't like drawing multiple layers of ruffled skirt. i didn't like how my sketches kept looking. i wanted to give her a skirt slit, especially after my friend reminded me about her thigh rifle holster. so today, i stared at a bunch of victorian ballgowns and party city costumes, and then completely redesigned her skirt before i lined these XD and i think it was worth it!! i love the layers and the way her rifle peeks out, and it meant i could show off more of her boots and give them a pretty design :]

delacy - my main thought going into drawing delacy was just. "i need to malnourish this boy" LMAO i refuse to believe that he is eating properly, i just know that he is not. otherwise, i mostly just stuck to the campaign art but scuffed up his clothes a bit. as implied on silas's notes, i very purposefully had his boots be Big. he's overcompensating a little bit :] also sorry i did not want to draw rooster so he just gets a generic handgun. i didnt feel like drawing complicated guns, and i wanted it to be a smaller handgun so that he could be poorly copying edie :') he has no trigger discipline but neither does edie so its fine

nate - that's just nate, baby!!! i think, canonically, he's meant to be a bit. emaciated. but i cant help but just picture him being a bigger guy, i think it fits his vibe better and its more fun for me to draw that way. i like having variety in body shapes, and garnet and delacy already have the rail thin thing down for this line-up. let my old man be fat !!! also. he has a weird nipple because he is transgender. heart emoji

[strangelittlestories]

My teammates tell me I’m gonna to croak on the job.

They don’t mean soon. They’re not, y’know, assholes about it. They don’t mean I’mma get myself ended because I’m not good enough. They don’t even mean I’ll bite off more than I can chew. I can chew a lot, metaphorically speaking.

(And, like, sure I’ve snuffed it once or twice in the course of a mission - but it never *sticks*. And, sure, my team would probs suggest I add ‘so far’ to that sentence. But ‘hell never sticks … so far’ is grammatically weird, I think, so I reckon I’m morally in the right.)

What they mean is: I’ll never let myself leave the job, so of course I’ll lose myself to it.

Which. Y’know. Fair.

A lot of folks in the profession have this issue, of course. When you’re in the world-saving game, it can be tough to justify quitting and letting someone else take a turn.

I call it the Heroic Paradox. The ‘Heradox’, if you will.

Paradox part 1: an apocalypse demands a ‘hero’ or ‘heroes’. If it does not find one, a hero must be created. This is rough for the hero, ‘cos they’re a normie with a normal life and the process of going hero mode will take that life away from them.

(I’m actually not a huge fan of the term ‘hero’, but ‘designated end-of-days preventer’ is lengthy.)

Paradox part 2: if an apocalypse begins and the hero(es) already exists, then job’s a good’un, just crack on with business and de-apoc the lypse.

Paradox part 3: if the hero(es) are a few apocalypses deep and now pondering retirement on a nice little island/farm/wizard tower/public office, you hit that awkward moment where a hero is called for, but not yet present. Best case scenario: some poor schmuck gets their life ruined by ‘destiny’.

Worst case? The hero refuses the call or gets snuffed out early or *there just isn’t anyone appropriate* and that situation really puts the ‘scat’ in ‘eschatology’.

So … yeah, I don’t see myself retiring.

But if I’m honest - if I peer really intensely at the squirming pile of neuroses that lurk beneath the justifications - I was this way *before* the stakes got this high. I’ve always been a ‘crisis mode’ kinda jerk.

Lurching from mission to disaster to disastrous mission has always been where I feel most *myself*.

Now you (or my team) might say: that’s no way to live. Everyone needs downtime. Rest. Enrichment.

It’s been the downfall of many a hero that they hit crisis mode so hard, they don’t bother going to *therapy*.

My answer to this is simple: if you treat self-care and self-maintenance as being *really fricking urgent*, you can roll that work into your *existing* crisis pattern.

This is actually pretty sustainable. Because first: that stuff *is* urgent and you’re a bilge-organist if you don’t realise it. And second: the best kind of therapy is always the one you’ll *actually do*.

So yeah: I’ll pass away on the job. Because even the soft fuzzy nonsense I do … it’s all for the job.

And you know what? If it means I’ll exit this world knowing who I am? I’m okay with that.

---

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[coldgoldlazarus]

This is also why I'll always prefer the stylized Miramax approach to portraying the characters. It keeps that visual language from the pieces, but isn't bound by them, and it winds up feeling so much more authentic to me. I can sorta understand the people who prefer the stuff that looks more like the sets, like the Ghost Animations and TLR, or at least respect their right to their opinion, but that just feels so reductive to me in a way.

(I will say that my one gripe with the Miramax stuff is the way eyes are melded into the masks rather than visibly set beneath them, making it harder to see them as masks a lot of the time, and I do wish they had the same level of... crispness, as Ghost's rendering style, but that's neither here nor there.)

I also really love seeing the set prototypes and how it shows how kitbashed chunks of older parts evolved into newer ones, helping keep that consistent visual language going forward even as the style of the builds evolved and new aesthetic ideas were added on top. (The mix of industrial structural kludge and refined angular art deco influence of the Metru-era sets, the Piraka/Inika piston overdose and use of blocky, chunkier textured design elements, the Barraki/Phantoka organic sleekness, and the Glatorian emphasis on elemental aesthetics.) That so much of this got cut up and remixed into new molds also really helps maintain a certain level of consistency among the variety, a perfect balancing act that really makes the universe work.

I also feel like this is what people were kind of trying to get at when criticizing G2's aesthetic, but couldn't quite articulate effectively. We wanted to see new shells and addons that also carried forward the design languages G1 had established, but that thought just came out as "moar pistons!" which is how we wound up with the minor travesty that is the Uniter Torso armor piece. Maybe calling it a minor travesty is a bit much, since I respect the intent at least, but I still don't like it; whether due to the fandom's badly-communicated complaints, or failure to understand on the design team's part, it feels like it's trying to be a compromise between the new and old aesthetics but doesn't really manage to fulfill either all that well.

But yeah, I really like how much distinctiveness and personality the original run had; it's a unique and difficult to replicate set of design ideas, that evolved interestingly across Slizers and Roboriders, G1's decade lifespan, and even the first year of Hero Factory. Sometimes I feel like even the modern fandom's 3D modelers sometimes fail to capture it in an authentic way, but at the same time I do love some of the newer spins I've seen put on it. It's just a really incredible visual identity.

so, random little tangent that came from looking at the old bionicle pens

there’s something about that white bead in the middle, the piece that’s essentially two bohrol limbs smushed together, and it kind of makes me think like… bionicle was never just about the parts the toys were made of

like, all across secondary media and even just firsthand media, you can sometimes see combinations of parts that never existed. the toa hordika’s arms in wos, for one, the way those worked they were clearly pulling from different parts but blending them together to create the look they wanted, some of that happens in the bionicle heroes console game too, they’re not bound to just what appears in the sets

and then you open up the rahi and dark hunter books, and you see these creations that sometimes use things that aren’t lego to hold themselves together, rubber bands and illegal connections, some stuff you’ve never seen in a bionicle set before (probably because it came from a roborider or a slizer but that’s besides the point)

and you see the way that giant parts are strewn about on the surface of bara magna, or making up sculptures in po-metru, and maybe they’re split in strange ways, or they’re overlapping, but you get the sense that, unlike in the toys, these shapes are mutable, they aren’t just static parts that you make the robots out of, they’re almost ideas, visions of anatomy from a world foreign to you

with all of this, it feels like bionicle was always more than just toys. it was more than something you could hold in your hand, there were ideas that you can see and understand but that were beyond your reality, things that didnt exist but could, and that’s how you knew it was more than a toy. the toys were glimpses into a bigger world, representations of living characters, not just plastic playthings but something greater than that

so yeah, there’s more to this silly little customizable pen than i think they intended, and i think that’s great

[bacchuschucklefuck]

class swap design masterpost for convenience (from top to bottom: bard!riz, cleric!gorgug, sorcerer!kristen, barbarian!fig, artificer!adaine, and rogue!fabian)

[comvi]

saint from last night. i personally think the different regions and their temperatures each affect saints colouring, making it vary a bit more than your usual slugcat's colours would have

[turtleblogatlast]

Things I make for myself when insomnia kicks in

Just a chart about what I wanna change up and keep consistent in my art - I mainly wanna draw Raph with a tail because he deserves one, it fits too well. Donnie gets a long tail too because I didn’t realize how dino-like he looks until I gave him one, and now it’s a must for me haha.

[jullbnt]

@aikoiya I didn't have much time to answer earlier, sorry! And I don't mind your unskippable dialogue :D

This all could work! I think Mignoponga doesn't sound very French though, the -oponga part sounds a bit foreign to my French ears ^^

I'd love to see your map! I'm especially curious to see where you would place the Hidden Village or the castle from ALttP. Since you mentioned Ordon Village, I would put it somewhere near Highland Stable!

I guess you're right about the lack of loadscreens (and it's already wonderful that games as big as BotW and TotK run on the Switch the way they do without them). AC also mostly has duplicated NPCs you can't talk to (at least that's how it was until Unity and then I stopped playing) which makes it easier to build huge cities. If they wanted each character to have a unique design and specific dialogue as is the case in BotW, they couldn't have as many.

Your theory about the Depths and the Deku seeds from WW is very interesting, I hadn’t thought about that! I had no idea the map in the Forgotten Temple showed a version of Hyrule with more water, I'll definitely look into that.

I don’t believe in the Adult Timeline theory though, in fact I don’t believe the Wild Era is on any of the official timelines and I don’t buy stuff about merging timelines either. I actually like to think BotW is on a fourth timeline emerging directly from Skyward Sword (and I tend to act like TotK didn't happen because I kind of hate the Zonai, amongst other things).

To me King Daphnes’ wish on the Triforce makes it impossible for BotW/TotK to take place after Wind Waker. Old Hyrule gets swallowed by the sea with the Triforce, the Master Sword and Ganondorf himself and we don't hear about them again in Phantom Hourglass of Spirit Tracks. Link and Tetra even build a new kingdom on another continent, so it would be strange to suddenly be back in a land right above Old Hyrule where Ganon is still kicking and the Master Sword somehow finds itself in the Lost Woods.

The ending of Wind Waker was also very powerful and tragic with its whole idea of letting go of the past and moving on towards the future, and I feel having Ganon and the Master Sword return in this timeline would make it a lot less impacting.

Yeah I feel you about your head always running! I'm passionate about timeline stuff and spend way too much time thinking about Zelda lore 😁

Hi, sorry if this is a bit rude. 😅 I guess that I was just wondering. How would Jabul Waters, Zora Cove, & Crossflows Plaza be named in French?

I'm trying to give Jabul Waters an interesting name that works to go with my hc & I came up with "Jabuleaux." And Google Translate tells me that Crossflows Plaza would be Place des Flux Croisés. And, I'm seeing that Anse is the term to refer to a cove &, if that's true, then would Zora Cove be Zoranse? At the same time, somewhere else, it said that Anse actually means beach.

And, I believe that a town by a swamp would have cher, quier, bren, brin, or Hor- in it?

I'm sorry if this is weird... 😅

Hi! Don't worry it's not rude or weird at all! I offered to help and I'm happy to do so :D

Did you check the official French translations? I had a surprisingly hard time finding the French version of the map online so here's a screenshot I took myself:

Jabul Waters = Eaux de Jabule (this one only appears when I zoom out)

Zora Cove = Baie Zora

Crossflows Plaza = Place de l'Estuaire

In case you didn't know the Zelda Wiki often lists names for places or characters in various languages in the "Nomenclature" section of its pages. It's very helpful especially if you're searching for the original Japanese names. If we look at at the different names for Crossflows Plaza we can see that a literal translation from Japanese would be something like "Exchanging Place". I checked the Jisho dictionary and it seems to be an accurate translation, though "Place for Cultural Exchanges" would be more meaningful.

It's not exactly a good name in English so it makes sense that the localization team would come up with something like Crossflows Plaza instead, which in my opinion does a very good job of stating that this is both the place where the river meets the sea and where the two Zora tribes traditionally meet each other.

Other European languages all settled for variations of "Estuary Plaza" ("Place de l'Estuaire" in French), which is fine but looses the "cultural exchanges" aspect of both the original name and the English translation.

I've been trying to come up with a French translation of "Crossflows Plaza" but it's not that easy. To me "Place des Flots Croisés" or "Place Flots-Croisés" would sound better than "Place des Flux Croisés", but I still find it a bit weird ("flot" meaning flow, tide or stream). "La Croisée des Flots" is another option if you agree to get rid of Plaza/Place (it means "the intersection/junction of streams"), but I don't think it works very well as a name.

You could also mix words to create a name the same way it was done in English, something like "Place Croiseaux" (croiser/cross + eau/waters). If any of my French speaking followers is feeling inspired, please share your ideas! :)

(I just thought of "Place Cruciflot" and found it too funny not to mention 😆 maybe it sounds too much like crucifix)

In French we also have the word "confluence" that has the exact same meaning as it does in English: either the meeting of two rivers or a gathering of some kind. So to me the most obvious translation would be something like "Place des Confluences" or maybe "Place Confluence", as it would preserve the dual meaning, but it's not very fancy or creative. Maybe we could simply change the spelling to something like Place Konfluans, the same way "Village Côtier" (Seaside Village) is spelled "Village Kothié" (Seesyde Village). But it doesn't look like a French word anymore so I'm not sure that's something you'd like.

As for Jabuleaux, it can work but I prefer the official translation "Eaux de Jabule". Same thing for Zoranse, we would say "Anse Zora" or "Anse des Zora". The official French translation is "Baie Zora" (Zora Bay), which I think is more appropriate given the size of the sea inlet (in my understanding an anse/cove is a small baie/bay and isn't very deep). I think maybe it should have been bay in English as well instead of cove, but I might be wrong! Also I believe "anse" isn't used as often as "baie" and might be confusing for most people, so I would go with "Baie Zora".

I'm not sure where you found this information about swamps and town names? I didn't find anything to confirm it but I might not have looked in the right places.

French towns are often ancient and their names can derive from other languages such as Celtic, Occitan, Flemish, or regional dialects, so that's a very difficult question and I'm not sure I can give you a satisfying answer ^^

I still did a little search and found an Old French word for swamp, "palud" or "palu", that still appears in some town names such as La Palud-sur-Verdon, Saint-Pierre-la-Palud, Lapalud, etc. (today we say "marais" or "marécage"). You might be right about "bren", it could be something like muddy in Gallic.

There's also "vign" or "mign" (from Celtic), as in Mignéville or Lévignac, or l'Île de Migneaux on the Seine river (this one's in my city!).

Near where I grew up is a town named Hazebrouck, it literally means "hare swamp" (brouck/broek = swamp in Flemish). For a bit more French flavor you could maybe use -broucq or -breucq instead of -brouck.

I think the vast majority of French people have no clue about all of that (I didn't except for the last one and it's more Flemish than French), so I'd say don't oversweat it ;)

And that's all! I hope you'll find this helpful ^^

[front-facing-pokemon]