#but it's clear he doesn't actually give a shit?

[the-fallen-blue]

Pretty sure she's an addict, actually.

Looking at the way she reacts to absorbing power, both in this show and in Wandavision, it obviously feels really good. I think she's being honest when she says she doesn't control it, but it's not because she physically can't, it's because she's so euphoric in the moment that she can't think clearly enough to make the decision.

And the greatest possible risk for addiction is to be in a situation where nothing else feels good. Where the world is unstable, untrustworthy, unreliable, where you are unable to plan or hope for a future or believe there is a source of good for you other than your drug of choice.

And Agatha, the covenless witch, has been in that situation her entire life. The only good things she's ever had are Rio and Nicky. Rio, despite being a shockingly caring and respectful partner, is also literally Death and cannot provide for Agatha any sense of protection, community, or future; Nicky is doomed before he's even out of the womb, and any joy she has with him is tempered by the fear of his loss, the knowledge of the ticking clock of Rio's return. And with or without the two of them, her deep-seated belief is that she is unable to be part of her community, that she has only the single binary choice of being hunted and alone and despised, or to attempt to belong and be instantly killed. Which is a stressful, painful way to stagger through the centuries.

I do think she told herself a lot of things about why she was killing other witches, of course. One thing is what she told Nicky; that it's to keep him safe. It "distracts" Rio (deep down she knows perfectly well that Death doesn't work that way, but he's still alive so far). It gives her enough power to protect him (she tells him herself that no amount of power can protect him or heal him or even guide her in his care, because her power doesn't work that way, but it's not like she can go get a coven to fill in the gaps, she has to try to make do with what she is). It protects her (if she has enough power, if she kills witches before they can kill her, she won't be hurt again). And I think one of the things that she told herself after Nicky died is that if she got enough power, enough juice, she could bring Nicky back; in Wandavision in particular she is very interested in the power of the Scarlet Witch to create life wholesale, to defy the balance Rio maintains.

But Agatha is a liar. Maybe all of those reasons have their influence, but at the end of the day, she drains witches because it's the only thing that feels good enough to make her forget for a second that she's lost every person she's ever loved and everything that ever made her feel safe. Because she's desperately trying to fill a hole in herself with power because she doesn't understand how to see or ask for or believe in anything else. Because the way her power works means that if she is feeling that feeling, she is being attacked, having it proven to her that of course there is nothing else for her, no welcome and no care and no joy outside of this moment of killing.

Which is why the first time she's able to stop herself is the first time she has seen and felt enough of a support structure outside of that addiction to actually start believing there's an alternative.

(Though, to be clear, none of that makes her not an awful person. If sorting people into moral categories is important to you that is absolutely the one where she gets put, and she is barely at the beginning of a potential redemption when the season wraps. She's just not there for shits and giggles, she's there for ~trauma~.)

I'm still thinking about the advice lilia gave to agatha right before her death because it is so fucking significant. like alice tried to protect agatha and agatha accidentally killed her. and STILL lilia decided to try again, in her own way. while existing throughout all of time at once, lilia believes that helping agatha is worth a try.

each time agatha tries to act like she doesn't care about sisterhood and pushes her coven away, they STILL show up for her the way the salemites should have but never did. the road is actively giving agatha what she's been missing since childhood: being shown care and compassion.

[maybanksprincess]

seven minutes in heaven

warnings: suggestive but no actual smut, mature themes, dry humping, tongue kissing.

summary: a game of seven minutes in heaven leads to reader and jj stuck in a closet together.

pairings: childhood!bsf!jj x childhood!bsf!reader

requested by this ask (thank you anon!) i dont know much about the game, so if i got one of the steps wrong, im sorry in advance.

you and the rest of the pogues gathered together on a saturday night to drink beers, smoke weed, and play spin the bottle. typical pogue shit.

all of you were sat in a circle on the carpet in the living room floor of the chateau. there was a glass beer bottle in the middle of all seven of you.

for a half hour, the game was spin the bottle. everyone's facial expressions quickly grew bored. John B, and Sarah were talking about something totally different, Pope and Cleo gone to grab a new crate of beers.

After a few more moments of all of you staring at the wall blankly, Kiara's the first to break the awkward silence. "hey what's that game we all used to play when we were sophmores?" she asks, twirling a piece of her curly hair around her pointer finger.

after kiara speaks, jjs facial expression changes to one of interest. he thinks for a moment and then speaks, "the one where you get locked in a closet for like ten minutes?" he asks

Pope rounds the corner with a few beers tucked in his arm. Cleo not far behind him "seven minutes." he corrects, pointing a finger at him.

jj rolls his eyes at the correction and mimics a mouth with his hand, mocking his words "seven minutes" he says, trying his best to sound as much like pope as possible.

you flick the back of jjs neck, mumbling a shut up to him. he lets out a high pitched ow and rolls his eyes, but ultimately he stops his mocking.

John b turns back towards the group at the mention of the new game. "are we finally gonna play something other than spin the bottle? im kinda tired of landing on Sarah." he teases

Sarah shoves him playfully, and then turns back to the topic of conversation. "Yeah we should play, it sounds fun. how does it work?" she asks, tilting her head slightly.

Pope speaks up this time, "we spin a bottle for two people, whichever two people it lands on, they go in a closet together for seven minutes to do whatever they want." he adds with a hint of suggestion at the end of his sentence.

jj smirks and turns to look at you, memories of the last time you two played this game when you were fifteen, when you shared your first kiss.

it was the first kiss for both of you, so it was sloppy and had a lot of teeth and tongue, it was sickening to think about, but never forgotten.

jj pipes up next, "yup we can play. this games borin' anyways." he says with a shrug.

everyone else agrees and shifts themselves back into a circle on the carpet. Pope places the bottle in the middle, then darting his eyes from one pogue to another.

"so whos first?" pope speaks

jj doesn't waste a second in volunteering to go first. "me! uh- ill spin first." he says, clearing his throat. everyones eyes fly to jj, giving him a questioning look.

"dude you answered that way too fast." john b says with a growing smirk on his face, his eyes now flickering between me and jj sitting beside one another.

"dude shut up!" jj says, before reaching forward and spinning the glass bottle, he crosses his arms and sneakily crosses his fingers hoping, praying, that it lands on you.

everyones eyes are glued intensely to the bottle, the tension in the small room palpable.

eventually the bottle comes to a stop, the tip of it pointing right to your knee. jj has to hold back from jumping up and saying something like hell yeah!

he instantly stands up, holding his hand out for you to take. "cmon m'lady." he teases, and looks at you with his typical shit eating grin.

you roll your eyes and take his hand, standing up and walking to the closed closet with him.

"i bet everyone can guess what they're gonna do in that closet." john b says with a smirk, as he watches jj open the closet door and enter.

"gross! i dont even wanna think about it." kie adds on, then everyone starts to whisper about both of you in the open circle.

as you both get in the cramped closet, jj takes a seat on stacked boxes that clearly say "fragile" but he obviously doesn't seem to mind. he looks up at you still standing there awkwardly in the dimly lit space.

"seems oddly familiar, doesn't it?" he teases. your brain floods with memories of you and jj in the same situation back in sophomore year.

you both had been in this exact crammed closet, deciding you could both share you first kiss together. it was sloppy, uncoordinated, and you both were trying to figure out a comfortable spot to place your hands. it was an awkward and uncomfortable kiss, but it was stuck in your brain nonetheless.

"yeah, really familiar." you chuckle nervously, looking around, and tapping your foot on the ground. you avoid eye contact with the blonde, hoping this seven minutes would pass by quickly.

he notices your shift in mood, and he smirks. he spreads his legs and moves his arms behind his head as he speaks.

"you know, were in here for a whole seven minutes. we should put it to good use, right?" he was enjoying making you nervous, and teasing you.

when he doesn't get a response, he gently pulls you onto his lap so your straddling him. he looks up into your eyes in the dimly lit closet, with something you cant quite describe.

before you know it, your both leaning in slowly, jj is the one to connect his lips with yours. the kiss was gentle and chaste at first, your mouths moving passionately against one another.

jjs hands find their way to your waist, gently caressing the flesh. you take that as a sign to move your hands up his torso, then settling your arms around his neck, all while continuing to kiss him passionately.

the kiss grows more intense over time, your tongues fighting for dominance against one another. eventually you catch yourself grinding your hips against his, as you both makeout.

minutes go by, and he finds himself lost in your kisses and the way your grinding your hips against his. his cock doesn't take long to stir in his cargo shorts.

when you feel his buldge press up against you, your hips move a little faster, the kisses becoming more desperate. before you know it, a light is shining in the closet and the sound of the door creaking fills your ears.

you pull away from jjs lips briefly to look at who opened the door.

"seven minutes are up, lovebirds." john b says with a jerk of his head, motioning for you two to get out the closet with a smirk.

IM SO SORRY TO LEAVE YALL ON A HANGER LOL

[archduchessgortash]

Unpopular Opinion

An 'evil power couple ruling Toril together' ending for Durge and Gortash is a horrible idea, and I'm glad that it doesn't happen in Baldur's Gate 3. If it ever did, it would not be a happy ending for either of them.

If that's your kink... cool. It's such a popular ask in the fandom that I'm sure someone already wrote it months and months ago.

My kink is redemption, but hardly anyone seems to want that for Gortash, and it makes me sad. I really think it should have been an option.

Here's why I don't want Durge and Gortash ruling Toril:

Durge and Gortash have both been abused, manipulated, and treated like complete shit by their families, their caregivers, and their gods. Bane's treatment of Gortash isn't exactly clear except that he tortures his soul for failure even though Gortash did everything he possibly could to succeed in the Absolute plot. By the time we meet him in-game, Gortash has become as bad, if not worse, than his abusers. Pre-tadpole Durge was a piece of work, too, although Sceleritas does mention that they struggled to stay the course that Bhaal had set them upon even before their lobotomy.

We know that one of the themes in Baldur's Gate 3 revolves around cycles of abuse. Even when the victim-turned-abuser isn't arguably 'as bad' as the one who hurt them, if they choose the same sort of path, they lose everything they were ever really fighting for: themselves.

I know Ascended Astarion stans will stomp their feet and say he hasn't become Cazador 2.0. To them, I say: 'You're right. He hasn't... yet.' However, he has eternity now and a delusional slave of his very own to bring out the worst in him. There's a reason that spawn Astarion mentions how he felt everything he'd learned since meeting his new friend/partner slipping away when he thanks them for stopping his ascension. Because that is what ascension does to him. Astarion loses. Cazador wins. Even dead, he has won. That the fandom doesn't get that boggles my mind.

Some fans like the idea of evil Durge and Gortash taking out Bhaal and Bane, becoming gods themselves. In my opinion, this is so much worse. Killing or torturing their abusers as revenge isn't 'finally showing them' or proving their strength. It is, in fact, a mirror of their abuser's own weakness manifested in their victim. Gortash has already crossed this line. Dravo Flymm is effectively dead, animated only by his tadpole. This is another reason I wish Karlach had the option to forgive Gortash--not for him--but for her.

Gortash intellectualized his own abuse so hard that he actually thinks he was helping Karlach by giving her to Zariel. He has not truly dealt with anything that was done to him. He projects it onto the people around him and makes his own problems into everyone else's. I believe this is why there's no ending in which he survives. That, and running out of time and money to do him and Wyll justice with their storylines.

I don't like Durge and Gortash becoming worse together. A history of abuse does not excuse its continuation. I don't want to watch them be overtaken by their own weakness, to weep as I gaze upon the manifestation of their inescapable cowardice.

I want to see them win, but my definition of winning is not ruling. My definition of winning is choosing to no longer emulate their abusers, to become what tiny glimpses into their back stories show us they once had the potential to be.

The idea of Durge and Gortash enslaving the world and ruling it brings to mind a line from one of my all-time favorite songs: Veteran of the Psychic Wars by Blue Öyster Cult.

'Did I hear you say that THIS is victory?!'

Well... it is. Just not theirs.

Repeating the cycle of abuse is nothing short of ensuring the legacy of the abuser.

Like I said... I want Durge and Gortash to win.

[fleshwerks]

Righto, I've had my brekkie, it was mediocre. Let's continue. To followers: I do my best to tag my shit now, so keep your Xkit or other tools updated, as I return to form with my long-winded, acidic essays on good old Dragon Age. It's like we're back in 2017 again! Now I want to offer commentary on an IGN article from September 25, 2024. And I briefly surmise on how evidently, Epler and friends either didn't play, or didn't understand their own home company's game, DA: Inquisition.

By giving up the Inquisition, the Inquisitor also surrenders all their power, gained lands and bases, influence, and treasure. All the Inquisitor has after disbanding or handing over the Inquisition is their personal reputation. The manpower, estates and so on is gone, not in small part because the Inquisitor's enemies don't vanish with the Inquisition, they are not just a splinter in Solas' eye, but there are a lot of powerful factions in Thedas who would very much like to see their investment in Inquisition to pay off. Especially since not nearly all of them threw in their lot with the Inquisition not to stop the world-ending threat, but for power and money. By deleting the Inquisition, the Inquisitor has absolutely robbed these powerful factions of their mail-clad, holy fist, as well as a lot of money. Not to mention everybody else you offended.

Also is gone the thing that made you special in the first place: the Anchor. You're nobody now. You're just a regular person with a great story, and nothing more. By the stinger at the end of Trespasser, you are Rook: you have a very small contingent of ordinary people, and you're back to having to handle everything by yourself again because your ace in the hole and all your resources and manpower are gone, gone, gone.

This quote also doesn't acknowledge the fact that until the very end, the Inquisitor faced distrust from every angle, and the only ones trusting you completely were the pilgrims and refugees, the contingent of people with the least amount of power to actually make meaningful change. Hell, even when you reached Skyhold, there was only one conversation about taking the Inquisition in a more cohesive direction back in Haven. Leliana and Cassandra and Cullen and Josephine virtually sprung your your new title on you by surprise. They ambushed you on a staircase, in front of a crowd, and shoved a sword in your hand. You had no way to say 'oh fuck no' without the desperate crowd below tearing you from limb to limb... in the isolated mountains. On an isolated mountaintop keep's grounds. There was never a choice there. From then on, you had to beg, connive or kill to get people to support you, and Trespasser directly dealt with the fact that people still wanted you gone or harnessed to the church. Your Inquisition wasn't united by the faith of all that contributed to it, it was united by lying, begging and killing. All that really united you was money and fear. The Inquisitor had to earn respect and fear. they had to beg and kill. Nobody in the Inquisition handed you stuff, you had to work for it.

Whose Inquisitor, Ms. Busche? Yours? Because if mine was headcanonically alive, he would not feel even a shred of remorse over being played like a fiddle by a literal elven god, thousands of years old, whereas all he ever was was a 30-year-old drunk soldier brought up in the societal isolation of a Dalish clan, and being functionally illiterate to boot. My Inquisitor is very clear: Solas' choices are his own, his deeds are his own, his manipulation is his own. The Inquisitor, especially the unfriendly-to-Solas Inquisitor never once had any control over Solas. It does, however, play into what's been my most consistent criticism of Solas, but more importantly, Bioware over the past 10 years: it acts like Solas is your fault. It acts like you getting manipulated and played by a vastly more powerful and older and cleverer person is your own fault, or your own responsibility. It's the epitome of Bioware trying to sneakily communicate: "Look what you made me do." And that's Solas' whole deal in Inquisition: he burdens a single, young mortal with proving to a literal god why he shouldn't kill the entire world. And if you fuck up, then Thedas dies. It's not unlike the nasty phenomenon of "if a white person does it, he's mentally ill and an outlier, if a black person does it, all black people are Like That." This is Solas: 'if I do it, I'm a sad rebel making big mistakes. If you do it, you're the reflection of all members of your kind. And my Inquisitor had none of it.

Very telling, Epler. This is you saying, in Bioware style, that there's a correct way of playing Dragon Age games, and there's 'any other ways'. The correct way is 'romance Solas'. The others are just variations on a theme that, in the end, don't really matter. And it shows in Veilguard, it shows. The very least you can do is prioritise your intended path, Epler, while not actively disregarding other paths. This isn't the case. It isn't the case with the entire Thedas universe from these four games, because Veilguard nuked all of the Southern regions in a not so veiled way to say: 'They don't matter. What happened there does matter. You might've felt like each of your PCs achieved a victory, but they were just officers stalling for time. They were all losses in a war that now has to be won, and they just don't matter.' No. My Inquisitor doesn't feel guilty. My Inquisitor is meta level enraged that all he ever was, was an unknowing valet to Solas, and somehow that's his own fault.

Sure. It's not like Tevinter has been ever-present throughout three games, with important NPCs hailing from there, North's influence on the South, and endless codex entries and book material talking about Tevinter. The lore isn't gone, Bioware. It's not a brand new region, it has always existed in Thedas, we just haven't been there personally, but we've read about it. A lot. And you cannot just delete it all like you did in Veilguard. The place has a well-known, established lore to each of its nations. It's not a clean slate.

OH, REALLY???

Really? Really-really??? Really-really-really????? Reeeeeeallly? Reallyreallyreallyreallyreallyreallyreallyreallyreallyreallyreallyreallyreallyreallyreallyreallyreallyreallyreallyreallyreallyreallyreallyreallyreallyreallyreallyreallyreallyreallyreallyreallyreallyreally----

Fair. Reasonable. Expected. But you're not writing a book that requires no personal hands-on involvement by its reader. You're writing a roleplaying game where the player is as much a storyteller as a spectator. And you just wiped the slate clean. Nothing stayed even a little bit fixed. So I, as a player and a fan have to ask: why should I care if all the places in Thedas I mended and helped get destroyed and deleted. Why should I care if the people I care for in the game are all dead. You could argue 'it's for the experience, the transitional nature of time, what matters is the moment and not the end goal' and it's a noble sentiment. But does it make for a great game? Because it's one of humanity's key questions and grievances that has been pursued, fought over, died for: 'Does anything I ever do even matter?' And in real life, the answer is: "It matters if you think it matters." But Dragon Age is not a real world, it's our escape from the real world. It's a place where people come to matter more than in the brief cosmological second we inhabit this universe. We want things to matter in Dragon Age, because in real life they don't. It's why we tell stories, Varric. We want something to last, and something to matter. We want to engage with what hurts us in real life, and we want to change that, and achieve at least some permanence. Because we cannot have that in real life. And Bioware proudly and self-assuredly has said to us: "Nah."

[thanatika]

yeah i agree with your point about survival mechanics and i feel the same way about the lack of combat mechanics. "why would an educated city doctor need a weapon" because shit is hitting the fan in every way impossible and pretty much everyone is walking around armed... also why am i supposed to believe the the fact that he's a man of intellect will somehow provide him with food? i don't think anyone is going to be too eager to share food during an outbreak intellectual or not...

+ follow up for the previous ask but actually my favorite quest from the original pathologic is the day 11 bachelor quest that involves shooting down soldiers. i think it really drives the point home about how this random fuckass guy who is supposed to be battling a plague doesn't even have the time to do that anymore because the people in charge are asking completely irrelevant things of him now and he's at a position where he cannot refuse what is being asked of him. like i think it was good storytelling that even as the guy who lowkey wants to deal with the plague and solve its mystery you still have other, more pressing, less interesting and or pleasant tasks to complete

i agree! honestly, i feel this way about the combat mechanics even more than i do about the physical survival (food, health, illness, sleep) mechanics. because sure, i can see how it makes sense for daniil's position of authority to mean that his basic needs are somewhat provided for -- although i don't think it makes more sense than what we got in the original game. i've never seen anyone bring up "isn't it kind of unrealistic that the bachelor isn't given lots of food during a massive food shortage?" as a plothole that needed to be resolved. the townspeople generally don't like him much, and most of the people with power don't either, except for the kains. sure, maybe it's kind of weird that you can go see the kains while broke and on the verge of keeling over from hunger, and they won't do anything to help you, but... the kains are pretty self-centered, and they're so goddamn weird that maybe they forget that you need to eat food to live anyway. and it's half-implied that the powers that be are ultimately giving daniil this role as a convenient way to kill him, so it makes sense that they would put no pressure on the town authorities to keep him alive.

(and honestly, artemy is taken under the olgimsky's auspices as much as the kains take daniil's under theirs! which is to say, selfishly, with ulterior motives that are more important to them than the well-being of their healer, but... the olgimskys are set up as the wealthiest of the 3 families financially, as well as the ones with the most access to food, given their control over the meat industry. so if anything it's "weirder" that artemy isn't more materially provided for, though to be clear i don't think there's an actual plothole there either way.)

but anyway, you could handwave it and say that daniil's position of privilege and authority gives him more perks than he got in the original game, but the amount of fighting you have to do to get through town is... kind of an unavoidable physical reality? like you're given so many sidequests that you often wind up walking around town after dark, and that's when the bandits come out. is the idea that the bandits would be too scared to attack him because he's so important? because that doesn't make a lot of sense to me, and even pathologic 2 establishes that he's seen as a valuable target by the bandits:

and then there's the quests where combat plays a more direct role in the story itself, like getting involved in saving andrey from the firing squad, or killing guards to break artemy out of prison, or the quest where you have to kill var in attempt to stop the arsonists (which i include on the same tier as the other ones because i really like the quest journal entry he has if you complete it where he blames himself for willow's death. it's a good character moment.)

hell, even in pathologic 2 itself, one of the biggest Bachelor Moments is on day 11, when you have that big dramatic convo with him after he killed a soldier for the papers he was delivering. plus one of bad grief's idle dialogues in patho 2 is commentary on the bachelor being "quick on the draw" and that he "already shot someone". like he just straight up is not living a combat-free existence. and overall, combat isn't just a good tool from a mechanical perspective, heightening the stakes and placing pressure on the player (though it is), it's also pretty important for him on a thematic level imo, almost as important as artemy and his "rivers of blood". in patho classic, daniil has this early interaction with the inquisitor:

which, thinking about it from a doylist perspective, was probably the writers' attempt to make it sound more plausible that this random medical researcher from the big city was competent with multiple types of guns. and i appreciate them coming up with that hint of backstory to cover their bases a bit, but with those bases covered, i think the fact that daniil ultimately spends more time shooting people than he does prescribing medicines for them actually does a lot for him thematically? i mean, if his whole thing is that he's this "tempted destroyer", someone who frames his career as a combative battle with death rather than a quest to save people's lives, whose "default" solution is to raze the town with artillery because he's too limited by his rationalist worldview and military upbringing (and bitterness over being manipulated and sabotaged) to come up with a solution that saves the any remaining infected survivors on his own. plus the way that clara frames artemy and daniil as two sides of the same coin in being violent destroyers and killers, who without player intervention will immediately devolve to running around chasing each other down in what's either an insanely dedicated tom and jerry LARP or some really elaborate foreplay. imo, that whole dichotomy (which is pretty core to the game, as the idea of dichotomies are core to it in general) works so much better with the way they're both presented in classic, stalking around with gun/scalpel in hand. hell, not to mention the effect that spending 12 in-game days trying not to starve and getting killed by bandits or guards or worms or soldiers every day would have on the player, and the way it would make them feel about the town and their natural projection of those feelings onto dankovsky, who is a perfectly fitting vessel for them as the avatar actually undergoing those virtual experiences.

ultimately i think they are mainly going this direction out of a desire to do something more creative and original, which is fine... it just seems a bit silly to me that they keep saying "well obviously that doesn't really work for the bachelor's scenario", when, well... even as recently as patho 2 in 2019, they seemed to think it fit his narrative pretty well! i'm also guessing that a lack of combat won't be that bandits are just no longer roaming the streets at night. it sounds more like pathologic 3 is set to be more of a nonlinear experience, where you'll probably fast travel from place to place instead of having to walk across town so much? so you'll be avoiding bandits just in the sense that the gameplay will be avoiding them. i guess i'm hoping that at the very least, there's still the implication of the crunch of not getting enough sleep or food and the threat of being stabbed to death while trying to get through town occurring to dankovsky in the background, even if those mechanics are deemphasized in favor of more macro-level town resource management, time control, and sherlock holmes fruit ninja or whatever the hell they were on about back in 2022 lmao.

[serpentface]

Does Janeys know that Brakul has a wife and son? How would he react if he learned?

He actually does know and has known pretty much from the beginning.

Early on in his stint as a POW turned mercenary, Brakul would repeatedly invoke his wife and son as reasons he could or could not do certain things + to insult Janeys like 'okay but some of us have actual, tangible responsibilities in this world and people who depend on them. Like my wife and son, who I will be returning to immediately when my contract is over. You're never going to see me again. On account of my wife and son.'

When he started actually Liking Janeys and wanting to be with him, and seeing a chance to Avoid All Consequences And Never Go Back Home, he gradually reversed course (and attempted to rationalize it to himself) like "Ahhh they'll be fine. I mean everyone probably thinks I'm dead and/or an oathbreaker anyway so Sirudan's gotta be remarried by now. My brother probably got in on that, and he really has his shit together so they're in good hands. Honestly it will be worse for them if I go back. They're better off without me. They're fine. It's not a big deal. I'm soooooo single and unattached btw" And Janeys was like "Okay. Yay."

13 years down the line Janeys almost never thinks about it and when he occasionally remembers it's like

He does not give a shitttt about the wife/child abandonment angle whatsoever, but he's aware that Brakul still has some attachment to them and regrets over skipping out, and he's kind of insecure about it. The concept of Brakul having a child out there completely independent of their whole Thing also makes him uncomfortable in ways he can't really put his finger on. He's not actually scared that Brakul will return to his ex-wife though, like even with all his profound insecurities and abandonment issues he knows there's not a chance in hell that he's gonna actually attempt to make amends. Bottom line is he doesn't like to think about it, and mostly doesn't have to.

[butwhatifidothis]

Still baffled that Hopes so blatantly wrote Claude as the typical Evil Vaguely Middle Eastern Man set on destroying the Good White Nation for his Evil Vaguely Middle Eastern Nation that is often seen in fantasy settings - complete with him being seen as worse than a white woman who does many of the same evil deeds he does in-verse, even by his friends (should it be the bad ending route of SB) - and so many in the fandom were so eager to gobble that shit up. INSIST that "Clearly A Racist Stereotype" is LEAGUES better than "Subversion Of A Racist Stereotype" even. Like I don't think I'll ever get over how supremely fucked that is

[feroluce]

So I went to the wiki page for the henghill Bullet & Brain mission of 2.2 looking for some dialogue I had missed and

a) I found something incredibly tasty that slotted into some other thoughts I'd been having, more on that on another day, and

b) I saw this super fun little trivia at the bottom, which!

I knew Penacony characters like Boothill took a lot of inspirations from old movies, but I didn't realize it was even in his and Dan Heng's relationship, that's so cool!!

It fits them very well, it's such a fun reference. "Butch Cassidy and the Sundance Kid" was an old buddy Western film (from 1969- nice) about a pair of outlaws. Butch Cassidy was the leader of a gang, and described as clever, affable, and talkative. Meanwhile, his closest companion, the Sundance Kid, was known as a man of few words.

Cassidy's original birth name was much more plain, but similar to Boothill, he took on a new moniker when he became an outlaw. "Cassidy" had been the last name of his beloved mentor, who taught him how to shoot and ride. And Sundance Kid was known as he was because Sundance was the name of his hometown, and it was the only place that had ever managed to catch and jail him, back when he'd been younger (also similar to Dan Heng, but ouch).

These two stick together like glue throughout the length of the film- through Cassidy's leadership of the gang being challenged, through a train robbery gone wrong, through being pursued by mercenaries, and even through fleeing to Bolivia and trying to start over together.

I don't want to say too much more, since the mission title is referencing one specific movie that I've never seen. I kinda wanna watch it now, though, just to see the inspiration that went into Boothill and Dan Heng and how they get along. I just think it's really sweet that these two were literally made to be the best of bros, how lovely is that. 💕

[bitchthefuck1]

you know what, I actually will talk about this because it's bothering me. The issue with focussing so heavily on syd and carmy's potential for a romantic relationship isn't that there's something inherently unintellectual about romance or whatever, it's that a lot of people seem incapable of doing that without immediately flattening the story and ignoring or intentionally misreading any and all nuance for the sake of that romance. Every scene suddenly becomes about how it impacts their relationship, every analysis is done through a romantic lens, every frame or line of dialogue becomes about finding some easter egg or hint that "proves" these people should start dating. Their dynamic is absolutely a fundamental part of this show, but if you can only see it as a will-they-won't-they, you miss so much of what the story is actually trying to say with these two.

There are good versions of this story where their relationship is romantic and there are good versions of this story where it isn't, but as soon as you decide them being together is "the point," you lose the ability to actually judge the story for what it is, not what you want it to be.

[derrygirlstrash]

Not to start shit, if you know me you know I'm a "ship and let ship" kinda gal and saying this I truly have no problem with James/Orla as a ship it harms no one and plenty of people like it, I like people having fun... that said...

I have never understood the common argument that James/Erin as a ship makes no sense and James/Orla should have been the ship instead. Often one of the arguments is that James/Erin wasn't set up while James/Orla was and I'm sorry... what? James/Erin have at least one ship heavy episode each season as well as plenty of background moments and several significant moments in Erin's Diary.

Even if you ignore all the background moments of the two holding hands, being inside each others personal space, the times where they're clearly matching and whatnot. There is at LEAST the implication that Erin would ignore her supposed crush for James, that she cares what he thinks, that Erin is James's type, that they're aligned in creative values and match each others energies, that Erin thinks he's handsome, that James thinks she's beautiful, that she can't imagine her life without him, etc.

James/Orla have some touchy moments... that's kinda all they have as far as romantic coding and I don't see how those two hugging in the Season 2 finale is somehow more significant than what setup James/Erin have throughout all the seasons.

Honestly, while I can see Orla liking James - you could build a case for it and convince me even though I see Orla as ace/aro in my own personal headcanons... no one has ever been able to give me a convincing argument for James liking Orla back. It kinda feels like you have to ignore that he never has a reason to fancy Orla back and just project onto him that.

Which, again, go off if that's your bag I think their friendship is fun and I could see making a ship out of it, but the common argument is that the SHOW makes a better case for James/Orla and like, no? No it really doesn't? It's just not main girl/main boy and some people really don't like that trope or Erin as a main and I think that if you say the show didn't set up James/Erin well and you argue the show would have been better with James/Orla based on what's in the show, you just might not like Erin very much?

I've also never been able to make sense of the argument that James/Erin is somehow the trope that 'guys and girls can't just be friends' like, is that not also James/Orla? Y'know, besides that Orla isn't a girl. They do use she/her during the show time period though and some people who argue this think Orla is a girl, they just think they're not THE girl. So somehow it's better even though it's the same thing.

Basically what I'm saying is that shipping is fun and we all oughta do it. Every ship besides the obvious ones is potentially fun and I'm down for it, but there is one ship the show was setting up and we all know what that ship was and I think it would be better if we all were honest about it.

PS: "James was gay the whole time!" Truthers, if you made it through this post somehow I'd like to offer a compromise: James Maguire is the most bisexual coded male character in media history we can all win here.

[m00nj3w3l]

I have so many thoughts as to how Clear represent neurodivergency and no matter how hard you mask you'll always appear weird in some way but I don't know where to start.

[francesderwent]

I figured it out. actually only the first two seasons of Greys are good.

[void-botanist]

19, 20, 21, 22 for the polycule of your choice? :0

whoops we're doing it for two of them :3 and I'll include Heith too

19 - Summarize your character's goals in one sentence.

Marcus: be okay and go home, but also never have to tell Heith about all of his lies by omission

Heith: figure out if she's actually for real serious about Marcus (she thinks she might be actually for real serious about Marcus) and one way or another move out of her hotel room on Aephar

Yera: be a mom and try to make peace with the fact that Marcus is not here to be a part of the family

Hossan: be a dad and help Umedes figure themself out

Gren: see Marcus again and hopefully find out that there was no need to be jealous about his girlfriend, and make sure everyone's okay, especially the baby

Pali: prevent Kiatcarmen from finding Marcus (though that isn't a very active job), make sure the shifter coalition in the court doesn't budge, and get somewhere with her studies of shifter magic

Umedes: figure out whether they want to have a kid or not help

Kiatcarmen: find Marcus, because Minaya must not ascend, and do whatever else she can to preserve her accomplishments in the kingdom

Pirianus: broaden Kiatcarmen's vision beyond legacy, or, failing that, as he has for some 30+ years, get her to open up to him

Caladea: see Marcus again, and for his polycule's sake believe with all her heart the lies they tell Kiatcarmen

Thade: continue completing the political project du jour and end up in a happily ever after with Pirianus, which might also make him more welcome in the palace

Orvi: complete the one thing he was installed in the palace to accomplish

20 - Who's in the way of those goals?

Marcus: his mother. Always his mother. And honestly a little bit himself

Heith: herself, mostly. This is so not like her - well, specifically the part where she's still here when there have been plenty of times to go home

Yera: realistically, Kiatcarmen. But she still sometimes feels like she's lost some of her verve

Hossan: Umedes is the big challenge here. They're just so indecisive

Gren: Kiatcarmen, but sometimes it's easier to focus on the fact that Marcus has an interstellar girlfriend that none of them have ever met and that's so frustrating

Pali: herself. There aren't enough hours in the day for everything, and she has to sleep ugh

Umedes: themself, because they were the one who said this would be a great idea for when Marcus comes back. Who 100% believed Pali and Minaya and her ferasca spouses that this would go great. And who also took one look at Yera & Hossan's baby and thought that maybe they were signing up for more than they realized

Kiatcarmen: Marcus. Always Marcus. But she also blames Minaya and Yera and Pali for his disappearance, and she needs Pirianus to just shut up. This would have been so much easier with Jimmy

Pirianus: Kiatcarmen because he put his eggs all in one basket. But he mostly blames himself

Caladea: Kiatcarmen, but she tries to focus on what she can do better, and how she's getting in her own way

Thade: he's beginning to suspect he's been in his own way this entire time but it can't be understated how much Pirianus is constantly hot and cold

Orvi: it changes frequently, but always some contingent of the court

21 - What is your character's relationship with their emotions?

Marcus: he can't control his bad emotions, so he suppresses them. This has never caused any problems

Heith: she's just as cynical about her emotions as she is about everything else, but sometimes she just can't not feel something completely unironically

Yera: she's gonna feel them whatever they are so [grits teeth] negative emotions are part of the fullness of experience (she will be screaming into this pillow later)

Hossan: left to his own devices, he would feel his emotions, and then let them cast away upon the wind. Being with Yera and Gren has made him learn how to interrogate them more

Gren: he feels everything. A lot. He also conceptualizes things in terms of feelings a lot

Pali: she would like to believe she doesn't have them, but then she lays awake at night deconstructing them

Umedes: they tend to put intense feelings away for later, but don't ever get to later unless later comes for them first

Kiatcarmen: her emotions are so rich and nuanced and nobody understands that, so all of her emotions collapse into some flavor of annoyance

Pirianus: don't like that feeling? Repress it! This will never result in it returning in continually more warped and incomprehensible forms

Caladea: being in the palace seems to have stunted her emotions - they're flatter, duller, and way more anxious no matter what they are

Thade: don't like that feeling? Deflect it! The more mirrors there are between you and your emotions the less you will ever know what they are and the less you can ever be responsible for them

Orvi: he has a mental Tupperware for emotions that allows him to keep control of himself. He is the only person on this list who will actually open that Tupperware on purpose later

22 - What regrets do they have, if any? (From any part of the story, not just exposition.)

Marcus: missing out on eight years of his "real" life, and especially not being there when Gren's grandmother died. If only he'd been stronger, he could have stayed

Heith: before finding out about Marcus, that she's kind of a flake to her band, but they don't seem to mind that much. After finding out about Marcus, that she ever thought there was some kind of "magic" between them and maybe she could feel naïve about love for two seconds

Yera: she regretted drifting away from her father and sister, so she's fixing that now

Hossan: most of his regrets are from the now-distant past and don't make much sense - even he will say so - but he always finds himself regretting that he can't seem to do more for people

Gren: not going home even more before his grandmother died, even though he was practically splitting his time between his home city and the palace. He also regrets letting Marcus leave, even though he had to, and there was no other real choice

Pali: after getting married, she got more distant from her professor mentor, and the regret hit her hard when they died

Umedes: most immediately, thinking that having a kid was a good idea (they are beginning to think that this is a pregnancy kink that got out of hand). But more than anything they regret not going with Marcus, even though they couldn't

Kiatcarmen: Ashmalo was a liability, but she still regrets that he died (despite her image she does not think that assassination is the right way to deal with most problems, including Ashmalo). Conversely, she regrets that she couldn't save Jimmy, even though medical science itself could not have saved Jimmy. She also regrets letting Minaya slip out from under her thumb, because if she hadn't, she wouldn't be stuck looking for her runaway son

Pirianus: that he can't seem to permanently extract himself from Thade. If he stops and thinks about it (read: gets drunk and sad) he regrets spending so many years of his life trying to get through to a woman who would just as soon throw him to the dogs

Caladea: that she couldn't do more for Marcus or Minaya or Ashmalo, and that she still can't. And that being stuck in the palace has left her struggling to try and pick up the pieces of her creativity and her passion even though it should have given her unlimited resources to pursue them

Thade: things he's said to people. Most of them used to be seared in his brain because he thought they were funny, and eventually he figured out that oh, maybe they weren't. But some of them seemed bad from the moment they came out of his mouth (not before that, unfortunately, because he wasn't thinking about it) and he wishes he could take them back for real, especially the things he's said to Pirianus

Orvi: that he's still here. He had one thing to accomplish, and even though it was complex, it's taking SO. LONG. He knew that marrying into the royal family meant that he probably wasn't going to permanently go home again, but the longer this drags on the less he even wants to show his face there, and he wonders if it was worth it at all

[blujayonthewing]

so in juniper's campaign we've just found ourselves in a high-stakes situation that I as a player do frankly find stressful and am anxious about, but hey hi also the DM was like 'okay here are the exact mechanics of how this is going to work because I don't want to surprise you with serious repercussions, also here are all the options you will have to try to do something about the situation-- [affected player] what do you think? honest feedback, I don't want it to feel unfair, I want to be clear that I am not just trying to kill your character, and if it ends up being badly balanced we can revisit it down the road' and oh my god I could COLLAPSE and WEEP with gratitude

[arosnowflake]

[Timmy Turner voice] I wish every Links Meet AU that uses Marin as a phantom to haunt and traumatize Link goes to hell no matter what

[llycaons]

it is so so funny that she went in love interests from lwj most righteous warrior of the common folk/beloved teacher to hua cheng who famously enjoys telling people to kill themselves