#consider this the teaser trailer I guess?

[larissa-the-scribe]

Agent Jeanne Townford, Cal, Rhys Vordur, and more feature in a story about friendship, courage, and dragons.

Jeanne:

I decided, in an uncharacteristic attempt at optimism, that I was going to have a good day today. Sitting at the kitchen table, nursing my much-needed cup of tea with Cal sprawled out on the floor beside me like a scaley winged Golden (green?) Retriever, I reviewed the good news: I was still alive, I wasn't in jail (or executed for treason), I wasn't fired, and I wasn't alone.

Rhys:

I hid the second time the dragon-man came to our house. The first time, I didn't know better. I couldn't remember a word he said, but I remembered the soft way he said it—with a smile that never changed—and the way his eyes looked hammered from copper, and the smell of ash that stayed in the house for hours after he left, lingering even over the lavender candles Grammy kept burning.

Coming soon to a newsletter near you...

[steveharrington]

can you elaborate more on steve being abandoned by the narrative?

yes <3 so i think there are two very unfortunate circumstances surrounding steve's character that have led to the current state of his plotline: 1. after not killing him in s1 like they originally planned, the duffers have never really had a plan for steve and 2. they are extremely influenced by audiences. when they were conceptualizing steve to fit in among the ensemble cast, the duffers were picturing him as a douchey boyfriend who unceremoniously dies. lonnie was originally going to come back to the byers house to save jonathan and nancy. there was no need to picture where he'd be 4 seasons down the road, so they just didn't account for that. then joe keery charmed them so hard that they literally couldn't bear to kill him, so steve ends season one still somehow alive.

but we've already established the nancy/jonathan plotline, because jonathan was once the duffers' self-insert who must defeat the evil jock and win over the girl. they couldn't just backpedal on that right away, so they needed to give nancy and jonathan a plotline alone, away from steve. but steve only ever functioned as an extension of nancy until this point, so what do we do with steve now? in an accidental stroke of genius that the duffers have admitted was a last second decision, they pair him with the children and make him into a babysitter. it almost instantly boosts steve into being tied with hopper and el for most popular character from the show, potentially even beats them both out. in 2017 when s2 aired, you could not escape mom steve jokes. it was everywhere, steve was everywhere, joe was everywhere, it was arguably the second coming of #justice for barb, which, in netflix business-y terms, was the exact viral meme type situation that the show wanted and needed to sell merch and remain relevant and say "see we still got it!!!"

you know who has the 2nd most lines in the entirety of season three? directly behind hopper? ahead of winona ryder? steve. think for a second about how absolutely insane that is. the character who was written specifically to die in season one. joe keery's name wasn't even in the season one credits, because he wasn't considered a series regular. and now he has the 2nd most spoken lines in the big blockbuster season because he rocketed up in popularity so intensely. season three marketing features the mall so heavily, creates a literal physical shrine to 80s nostalgia, and when the very first promo is released an entire year before the season airs, who's the star of that teaser trailer? and who, pray tell, is featured in the main brand sponsorship ad that plays in movie theaters worldwide? thats right its america's little darling steve harrington.

but here is the issue. the duffers look at what made steve popular and they see: funny exasperated babysitter, heartthrob action hero. they're like oh okay so we should keep putting him directly in the center of the action, bang him up every season to give him his classic bloodied aesthetic, but. he still needs to be funny. we can almost kill him, but we can't actually kill him because he's profitable. we can let him get horrifically injured because it's badass, but we still gotta let him crack jokes. it creates this very weird tone to steve's role in the story starting in season 3 because he's both the action hero and the comedic relief and protected by plot armor, so we get scenes where he's being literally tortured until he's begging for his life and gasping for breath but the tone is still.......fun? comedic? light and goofy? i think the duffers also forgot he's supposed to be a teenager.

now this is partially me making educated guesses but i feel pretty confident about this: once again, like gollum, joe keery uses his big shiny eyes and manages to evade death again in season four by being so likable and charming and marketable that netflix execs or shawn levy or maybe even the duffers themselves were like oh fuck we just can't do it. they were obviously tossing around the idea of taking mom steve all the way by letting him die sacrificially for dustin, so in season four they make eddie, transfer steve's relationship with dustin directly onto him, ctrl f steve's name in the death scene and just type in eddie instead, and once again steve is alive but he's directionless.

so what does he have now, in season four? i think the duffers have a whiteboard somewhere with steve's name and around it are little circles that say "funny" "cool" "DO NOT KILL" and steve is now stuck in this endless cycle of getting beaten up, popping back up somehow unharmed like a looney tune, saying something cute and oblivious, rinse and repeat. because that's what worked, that's what made him popular all the way back in season two. that's what the duffers are obviously keeping in mind when they're writing steve: popularity. not realism, not depth, not growth, just literally how to continue making him popular. meanwhile, other characters get to be part of the actual story. other characters get to serve a purpose other than selling merch. when el is bitten by a monster, she gets to actually feel pain and need help because that's realistically what any human would need. when hopper is tortured, he gets to suffer and ponder his existence and reflect on the relationships in his life. steve never gets any of that, because the writers just don't see steve as the 19 year old boy on his 4th straight year of traumatic events that he actually is.

they literally just see him as a money maker, there for cool viral moments and witty lines and maybe the occasional emotion experienced but only if it's about his romantic prospects. and the narrative that other characters get to have and be apart of just kinda runs parallel to steve. he's there, technically, but he's not really in the story. and it's like actually crazy because you'd think after all the funko pops he sold, he'd have earned an actual storyline!!!

[thoughtfulchaos773]

Carmy the Artist

I was up this morning reading more on this vibrant collaboration book. It's a very specific thing, Richie says. So i'm offering a positive perspective. Consider this: in the first teaser, Carmy arrives early, has a notebook, unravels knives, looks into the distance, and then at the screen.

In the second teaser, Carmy has a cigarette in his mouth and puts his foot on the chair. I don't think he kicks it; I think his foot lingers and plays with it, as if once again he's in his head, thinking. The two shots above remind me of an artist being thoughtful, ready to work, ready to brainstorm.

As I've written previously, Richie mentions "Vibrant Collaboration," and this could be from the book by Heinz Robert that delves into unconscious attraction and deep eros in the workplace. Here are some quotes that inspired the book Vibrant Collaboration.

Here's some quotes from Ayo and Jeremy about Sydney and Carmy.

Passion and intimacy, Sydney delivers something different...

Here's my guess, Carmy will have cold feelings for everyone except Sydney. With Sydney, it will invoke a certain feeling that we've seen since season 1, and that's passion. It's a passion for each other and its unconscious consequences for the rest of the team, as the book explains.

The teaser could be misleading. Sydney isn't in the trailer because with her, the scenes are different. I think that even showing the two of them together could reveal spoilers.

Because we can't know they're going to spend a lot of time together, creating a menu and Carmy thinking of her, and doing things for her.

Get ready for a deeper look into Carmy's intimacy and honesty, as well as the things that hold him back. Last season, we discovered why he struggles to truly connect with Sydney (i.e. he holds back and delays, fixing himself(the fridge), as well as self-hatred, but that's a different meta). in the season finale, he vows to never be absent from the restaurant or, in other words, from Sydney.

There's going to be different explorations for what love is, what passion is and how it can lead carmy to his true purpose.

They've already co-created The Bear, and now they have to co-create the menu. They may be so deeply involved in each other that Carmy can't worry about anyone else but Sydney. The show mentions inspiration, and I've written along with a few others about Sydney being his muse. He's going to need to figure her out in order to create that perfect dish.

See, the psycho Carmy that he talks about no longer exists. It's a different kind of Carmy. Psycho Carmy existed and was driven by being hurt by Mikey as he disappeared into work. But this time, he dives into work because he believes he hurt Sydney. He wasn't there for her. This drive, this life force behind being 'focused' Carmy, is from deep feelings of love this time around.

And this love that he can't feel for himself, love that exists only when he thinks of Sydney will be explored.

[purplealmonds]

Observations about Mononoke Karakasa characters & relationships based on costuming & color palettes

Let's guess who these girls' parents are and see where this rabbit hole takes us!

Analysis below the cut! This isn't spoilers as much as it is just going over publicly available information with a fine tooth comb but proceed with caution. Buckle in, this is gonna be a long one!

Based on the color palette of their outfits, these two girls featured in the second trailer at the 0:17 timestamp are the twin daughters of Hokuto Mizorogi (溝呂木北斗) as indicated on his bio on the official website.

Given Mizorogi's status as priest of the "Omizu-sama" faith, it's entirely possibly he's given special privileges within the ooku to father a child.

According to Japanese geisha culture, their half-painted lips indicate that they are children. They partially shaved their heads is reminiscent of a nun's makes sense given their religious parentage. Two context clues combined, I believe they are priestesses-in-training - a position which is higher than even that of the most favored concubines.

Supporting this theory, these twins have a very high position of power in the Ooku despite their youth, as seen by them being at the front of the procession featured in the teaser trailer at the 0:07 timestamp. They also have uniquely colored umbrellas:

As an aside – given how most of the spiral-masked women are visually identical, uniquely colored outfits are a visual shorthand for status (or narrative significance) in the ooku.

And I believe they are the gatekeepers for the, uhhhh, how do I put this delicately? The shogun's baby-making room? Take this with a grain of salt though; I could only see a sliver of the room they were opening in the first screenshot. The colors seem fairly similar though!

But also consider: this babymaking room has a lot of eye motifs, which is reflected in the pit seen in the ceremonial area where I presume Mizorogi presumably performs his religious services:

The third trailer introduces the theme of discarding essential parts of yourself. There is a shot of the comb falling into a pool of water in an unknown location:

Paired with the visual of the comb lying amongst discarded valuables in the water in the second trailer, I'm going to hazard a guess this is a common "ritual" of sorts:

I'm willing to bet Mizorogi enforces this "identity discarding" ceremony on behalf of the shogun. It says in his character bio he's a strong believer of "Omizu-sama". Did he discard his role as a father to step into the role as a the priest?

Their mother may be Kitagawa (北川), a high ranking maid within the Ooku.

The twins' hair and eye colors look similar enough, but there's more meat to this theory. Kitagawa seems to be a narratively important character based on how heavily she's featured in the trailers in increasingly angsty/mysterious ways:

Perhaps Kitagawa "gave away" her motherhood to the waters, which has religious baptism connotations. This hypothetical scenario feels rife with mononoke-formation potential.

Furthermore, from costume design standpoint, she also shares the blue and teal colors featured in Mizorogi's outfit.

As for her purple accents, I believe it is a color reserved for the higher-ranking women of the ooku.

I have a theory that the darker a color is, the higher the status is. Consider:

Asa (Left), who is a new maid but has a lot of potential for upwards mobility.

Tokita Fuki (時田フキ) (Center)), a lowly commoner who caught the attention of the shogun. Because she's a commoner, the purple is faded despite her high status, perhaps representing that it will disappear once she loses the shogun's favor. But because the rose pattern is almost a one-to-one match to that of Mizorogi's, perhaps she is strongly favored by this man as well.

Awashima (Right), the subordinate of Utayama, who is falling out of favor as Asa rises in prominence. There are still pops of dark purple, but a washed out lavendar permeates her palette.

Both Tokita and Awashima also have highly saturated yellow/yellow-greens, which could represent potential danger of their power disappearing due to outside influences.

As for the deeper purple...

Otomo Botan (大友ボタン) (Right) - a lady in waiting and daughter of a high-ranking senior councilor. Note that she also has pale purple in her palette because her high status was not earned. Because she borrows power from influences outside of the ooku, the black accents are represent that she has more power than even Utayama, the most powerful woman within the ooku.

Utayama (歌山) (Left) - the woman with the highest position of the Ooku,  "Odoshiyoroshi". She is also prominently garbed in red and white, which is a color seen in the shogun and a little bit of Mizorogi's outfit:

Lighter shades of red (i.e. pink) also seem to indicate men of lower status that still have some position of power, like these guards:

Note that Kame (カメ) (Left) and Mugiya (麦谷) (Right) also possess these "masculine" colors which may indicate that they have more forceful personalities compared to other women within the ooku:

Their respective outfits also have analogous shades close to the blues prominent in Mizorogi's outfit. Assuming blue has religious connotations (akin to Virgin Mary), perhaps they are also strongly faithful to whoever this "Omizu-sama" entity is.

Meanwhile, Asa also wears pink, but does not feature any blue in her outfit. I think may represent her lack of faith. She does seem like a more levelheaded individual not easily swept away by more dazzling aspects of mysticism.

This is the look of a woman who not only has a braincell or two, but has it on her person at all times.

Now let's look at our main protagonists!

Kusu features red and purple color accents in his outfit, which makese sense for his gender ambiguous presentation. You could say that the other colors featured in his outfit represent how the influences he collects by interacting with humans. Black is also featured heavily as the canvas for these colors. As mentioned earlier, this represents influences outside of the ooku.

In contrast, Shingi while sports both the masculine red/white and feminine purple colors of power, the latter definitely eclipses the former which matches his masculine presentation. His outfit also has black, but because his influence in the world comes in bursts during exorcisms, it is featured less prominently than Kusu. His disheveled look may represent his discarding of these superficial societal norms. His power - symbolized by red - need not be worn. It is already tattooed onto his skin - literally.

The only other characters that have red tattooed onto their skin are the twins from the beginning of this post. Come to think of it, their partially shaved look may also be a nod to the shogun's power - indicating that their very existence is divinely approved by him. So we come full circle!

So, yeah! Although these twins don't have an official bio, there's a lot to learn about them and others from extrapolation and inference alone!

In summary:

Red/White = Masculine/Divine power

Blue = Religious power

Purple = feminine power

Yellow = danger of power loss

Light colors = weak influence

Dark colors = stronger influence

Thank you for coming with me on this long diatribe!

[the-solar-system52]

DIGITAL CIRCUS THEORY

I was scrolling through Gooseworx's tumblr page and came across some images from the development of TADC. So I'm gonna theorize on what is going on in these scenes!

The first is a storyboard! On the drawing layer, Jax has a smirk on his face and seems to be looking at Ragatha (or maybe Pomni? it's hard to make out)

On the 3D layer, we see Gangle (presumably Happy Mask Gangle considering her carefree body language and no broken mask in sight) walking away from Jax and Ragatha. We also see Jax's model in an idle pose.

As for environment, they seem to be standing in a large hall with colourful cubes in the background, something red on an upper ledge and what looks to be a hole in the wall?? (those are probably placeholders tho)

My guess is that Jax is about to prank Gangle (probably breaking her mask) and is saying something mischievous to Ragatha like "watch this 😼". This lines up pretty feel with what we saw him doing in the character introductions.

The next are a bunch of funny smear frames from (what I assume to be) fully animated scenes! Although they look weird, it's very exciting to see a glimpse of what will happen in the pilot!

Caine flying on the stage we saw in the first teaser.

Pomni standing on the stage we saw in the first teaser.

Jax jumping in a room with brown/red walls.

Ragtha sitting down IN THE SAME HALLWAY WE SAW IN THE FIRST TRAILER! WHERE THE BLACK LINE CAME FROM!

Gangle lying face down on the floor (she's so me)

Bubble...sticking out their tongue?? I think??? In the same stage we say in the first teaser.

This where stuff gets interesting! Zooble is standing in a strange location with a checkerboard floor and walls made out of building blocks!

And this seems to be Kinger glitching the very same location! The building blocks look very similar to a castle, playing into the chess theme!

Another shot of Jax jumping in a room with brown/red walls, accept now we can see him jumping into a hole with the same checkerboard floor!

Jax sliding down a red slide.

Jax turning around (maybe laughing) on what looks to be the iconic stage.

A lot of these images reminded me of THIS promo from the Glitch Productions YouTube channel.

It has the same reflective checkerboard floor with Gangle lying face down on the floor! Although this is just a teaser, and not a screenshot from the actual pilot, I do think it's foreshadowing what'll happen in this episode.

So heres my guess on what some of these mean! I think this promo, the Zooble and Kinger images, the images of Jax jumping, the image of Gangle lying down AND possibly the storyboard, all take place in the same area!

This area seems to be a life-sized chess board with colourful blocks in the background making a castle! Assuming all these images were taken from the pilot, I think this will be the main location of the first episode! It will probably be where Caine teleports them to do Pomni's first challenge!

Considering the floor, I think this challenge will be real-life chess! With the character playing as different peices, working to try and capture Kinger! This may be used to show why Kinger is always so paranoid, because in chess the King is actually a very weak peice.

This may be looking to deep into it, but this may also explain why Gangle has fallen down in both teasers. Maybe, if the peice your playing as gets killed in the game, your out and you either faint, have to pretend to be dead or actually die and get revived later.

Or I'm completely wrong, we'll just have to "wait and see!"

[st4rbe0m]

SUMMARY ▸ 20 years ago, a gruesome murder shook the town hard. A type of murder that should've never happen, much less in their quaint town. A lovely family killed in cold blood with an unforgiving axe wielding maniac - a mother, a father and a little girl. It's been 20 years down the road, hasn't it? Then why are these 11 teenagers stuck in a loop of the same day, being haunted by a little girl who died 20 years ago?

PAIRING ▸ Park Jongseong (Jay) x reader ; additional pairings between characters as well , multi chapter story

TAG LIST ▸ open!! send an ask to be added

WC ▸ 1.8K

WOULD YOU LIKE TO CONTINUE THE BODY SEARCH ?

▊ yes -> CHAPTER 2 ▊ no -> masterlist

TEASER TRAILER BODY SEARCH MASTERLIST

The alarm is harsh in its morning call. It’s blaring and blaring and all Y/N thinks is, “alright, alright, I get it goddamnit.” It’s a mild day outside, and there’s a fickle beam of sunlight entering in through the crack in the blind. It’s Tuesday. Neither here nor there in terms of days of the week. But for Y/N, everyday was nothing. Nothing, considering the week always needed her to go to school.

Stretching out limbs stiff from a listless sleep and quickly finishing up a hasty morning routine, she stumbled down the steps to the kitchen to where her mother stood, meticulously packing food for both Y/N and Y/N’s father. “Ah darling, good morning!”. Y/N’s mother was the kind of woman who gave strangers on the street hope - with a radiant smile and a positive demeanor glowing like an aura around her, Y/N often found it almost impossible that they shared almost half the same DNA. Now Y/N wouldn’t she’s of the nihilistic type - she wasn’t one to brood about impending doom and darkness. No, she’d just say she’s just more of the demure type.

“Your dad already left, so I’m planning to drop his lunch off at his office later. I made fried tempura prawns today, way too many I think”, her mother added with an afterthought. Handing the little bag into Y/N’s hands, she added offhandedly, “Share them with your friends, alright?”, that characteristic smile blinding. Mustering up a small smile, she just said, “Sure!”. No point in ruining the morning mood with burdens now, is there? Maybe she’d tell her mother some other time - “Hey mom, guess what? I actually don’t have a single friend in the school I’ve been attending for 4 years! It’s quite fun how they all avoid me like I have the plague.”

Shaking her head, she headed out the door, backpack slung over haphazardly on her shoulder. Too grim for a time like this. 

The bus stop was only a few paces for Y/N, but she liked to take her time with it. She’d use any time she got to stay away from her classmates anyways. A horde of other classmates were sprinting or jogging down the sloped pathway, eager to meet friends or catch a good seat in the bus. It just so happened that one of such eager classmates bumped harshly into her shoulder, making the bookbag that was unfortunately only half zipped, to open up completely, spilling out some loose papers and notebooks.

“I’m so sorr-”. It was a voice she knew too well. Rich, velvet smooth. Good tone, and a lilt of apology added to it. Too bad she couldn't spend more time admiring the voice, considering the next voice that interrupted wasn’t pleasant at all. Exasperated, it said, “Are you mad, Jay? Don’t talk to that loser.”

Ironically enough, it managed to bring a wry smile to her face. It was foolish anyways. At least she got to hear that voice for a bit, however fleeting it was. 

Another interruption made her jump harder now. Gosh, what was with all these jumps today? She looked to where a sorry view greeted her - a little cat, run over by the school bus' back wheel. 

She arrived to her class as she always does - sitting down by the little window at the back of the room, while the rest raised a ruckus just before class started. Girls giggling by the back, some rowdy boys chuckling at themselves as they stuffed the envelope with money collected for the school festival into the desk of the unassuming student by the name of Yang Jungwon, a traditional nerd picked on for, you guessed it, being himself.

“Heyy, who stole the festival money?”, a teasing voice of a female, another one of the accomplices of Jungwon’s tormentors called out like a messenger at a market. “It’s here, on Yang's desk!”, called out Haruto with a satisfied smirk on his face, locking eyes with Jungwon who had just walked in, brown eyes wide in shock of what was happening already this early in the morning. “Ayyee, Yang, that’s not like you”, a second boy jumped in, a rough hand locking around Jungwon’s neck while all the boy could do was stand still in fear. “Guys, really? It’s 8AM, give it a rest right now.” The affirmative yet kind voice of Park Jongseong cut in. “Jungwon, sit down. Haruto put the money back.”. Honestly, this was the only part of the conversation that had captivated Y/N’s attention. The yellow light made his brown hair look softer than usual, and that sharp nose crinkled in distaste with the actions.“What happened to the money?”, asked class president Ning Yizhuo. 

Ethereal, charming, absolutely drop-dead gorgeous, Ningning, as she was affectionately referred to by everyone (everyone was her friend, who could even say no?), was the closest class 3-A had seen to perfection. Perfect grades with all the extracurriculars done up to a tee, who could really go against her? The competition ended there itself. Perfect Ning, always paired up with the Perfect Jay, they made Class 3-A shine. 

Classes went by in a blur to Y/N, who paid attention where it was required and dozed off where it was not, until the shrill, longer bell signaled their lunch break. That’s when the sad realization hit her - that she was carrying an extra box of fried tempura prawn that her mother wanted her to share with her friends. Friends that she didn’t have. Friends that she wished for, badly.

Heading down to the bench of the school chapel to eat her lunch, she noticed the barricades and the construction material littered around the area. Looking up, she noticed the machinery and equipment around the metal framework. Guess they finally decided to renovate, she thought to herself. Settling down on the stone bench, she chewed on the food slowly, flipping through the pages of a novel she’d acquired from the library to kill time. A slight breeze ruffled her hair and sent a slight shiver down her spine. It was a disquieting sound that the wind made, eerie wails fluttering about her ears, that made her apple roll off the bench onto the ground. Huffing, she bent to get her apple, until she noticed something out of the periphery of her eye. Looking up to directly look at the well beside the chapel, it was a strange thing - something red and wiggling. 

Until they all clambered out. Hands. Several hands, atleast twenty or thirty, all covered in blood. Grasping at the air in fevered attempts to claw out, blackened nails slicing at the air. No sound escaped her mouth as she fell back in terror. Y/N dug her own fingers into the ground as she tried to get away from the well, horrified yet transfixed to the scene. A loud crash next to her broke her out of her stupor - one of the metal bars on the chapel had fallen right next to her bench. A sorry looking foreman jogged up to her, bowing. “I’m sorry young lady, but could you clear out? This zone is a construction site.” Bowing in apology, she ran past the school’s side, taking a shortcut considering lunch would end soon enough. The wind knocked a flower pot over as she ran inside, trying her best to keep the memory of the well out of her mind. 

The sound of sports shoes skidding across the lacquered basketball court was nothing new to Jay, as he dribbled past his best friend, Jake, avoiding his close overtake. Shooting a hoop with ease, he turned around to make a teasing remark at Jake, who was already speaking to him. “Guess who’s on the bleachers for you again, mm”. A wolfish grin plastered across his face, he beckoned his head over to where Ningning sat with some of her friends, eyes on the game while the rest of her crew sat glued to their phone screens, no doubt checking the outreach of their new social media posts. Shaking his head slightly, in an attempt to divert Jake away from the frankly awkward and uncomfortable topic, Jay just said, “Man, if you paid that much attention to your layups we would be in a better position for the championship semi final, wouldn’t we?”. Scowling one last look at his friend, Jake and Jay resumed their practice back, with a few intervals from both the boys to look at their phones, awaiting texts from their friend Sunghoon. And with each of their texts left on delivered, the more lines of worry creased their foreheads. 

It wasn’t like Y/N was unaware of the date of the semi finals, unlike team member Park Sunghoon. No, she had it marked down on her calendar in a soft pink marker pen. An important day, not for her personally. Well, in a way it was. It was supposed to be the day of her attempt. An attempt to maybe talk to the boy from her childhood, her friend that always pushed her on the swings and let her drink his lemonade.

Getting ready for bed, her phone buzzed quite abruptly. This was new. No one ever texted her, much less this late in the night. It was a new Kakao text, from an unknown number. A single text, in distorted font, read, “Will you find me?”.

Pranks were already unamusing to her, but such an obvious one? Scoffing, she clicked her phone off until it lit up again with a new text from the same number.

“Found you :)” .

And again.

And again.

“Found you :)”

“Found you :)”

“Found you :)”

“Found you :)”

The phone kept buzzing. Over and over and over and her hands shook, staring at the distorting font. Shrieking slightly, she threw the phone on to the table and hid under the duvet, shaking until it lulled her to a nap. 

It was dark when she opened her eyes. And she was on her feet. The moonlight streaming into the chapel made the building look older than it seemed, and she looked towards the single light source in the middle, shining down at an empty coffin. 

“What the fuck?” 

The voice cut through the night as she realised she wasn’t the only one here. Underclassmen Kim Sunoo and Nishimura Riki were standing, staring at the coffin with scrutiny. Yang Jungwon, who was also there, was slowly shuffling towards it, while a surprise appearance of Park Sunghoon sat in the corner, disinterested.

“What the hell is happening you guys?”. This voice grabbed her attention. Park Jay appeared right next to her, looking right at her. “Hey”, he offered amidst the confusion. All she could do was nod her head. Opposite to her were class president Ningning and another girl from 3-A, Uchinaga Aeri, or popularly called Giselle. The loud voice of Sim Jaeyun, or Jake as he liked, was also robustly calling out to everyone. Everything was so weird and creepy, and she hated it. What the hell were those texts? What even was happening?

“Guess they renovated this fucking chapel finally”. Park Sunghoon’s cold and aloof voice broke through amidst the confusion.

[thatguythatdrawsalot]

Ruby - Atlas Design Critique.

I'm ending things off with a post about Ruby, now I do love making these kinds of posts but I don’t want to make it a top priority because, of course, I wanna draw other things especially since I start college around the corner. These posts tend to take more creative juices from my small brain. Until then, just consider critiques/redesign posts on a hiatus. 

RWBY Archives

I’m glad you guys were able to see me talk about outfits in a negative, negative, neutral-positive, and now POSITIVE way, mainly due to being biased. The archives say pretty much the obvious in her having a new style and being more cutting-edge with the look aka more stylish. I think they nailed it as she looks more mature and better yet her corset is way more reminiscent of Pyrrha. You know? The friend Ruby wants to honor since she saw her die right before her eyes- I can keep gushing about how cool she looks but uh, again I’m being biased, she’s cool-looking but not… practical. As in this outfit isn’t necessarily good to wear in Atlas, or rather the tundras. I wouldn’t mind this if she was solely stuck in Atlas/Mantle but she goes on outside missions, why on earth is she wearing a mesh? If anything this outfit would serve better if she was in Vacuo. The outfit had an alternative version of No Sleeves and even her presumed Volume 10 outfit looks so identical to her Atlas design.

Amazing how even the best outfit in Team RWBY still doesn’t make her look warm for the climate.

Hair

Remember back in my Blake Critique post on how I said I hated the ‘Spitting-Image of Parent' trope in fiction? They could’ve given Ruby a ponytail to look similar to once again; Summer, but they didn’t they got Ruby’s messy bang out of her field of vision and swooped it to the left! She looks 100% cuter and combat ready and while everyone was excited at her for looking more like Qrow, I was excited cause her hair looked more like Taiyang’s hair in being swooshed to the left. Though I wish they gave a reason as to why Ruby changed her hair all of a sudden, when characters change hairstyles it’s usually to show a display of growth with a ‘Show Don’t Tell’ reason but I’ll be biased and assume Ruby just wanted to look more mature ever since stood her ground in Argus for a reason I don’t wanna rant about.

Primary Color - Red!

Ruby doesn’t fail in representing her color of Red. The long red cape already does the job well plus her red skirt, she’s a gold star for being a red-themed character. But when it comes to her sleeves, blegh. I’m sure people have noticed this by now but Ruby’s sleeves are light gray which is so similar to her skin tone, which puts more emphasis on her arms. I swear the first time I saw the teaser trailer and saw Ruby’s model, I thought they decided to ditch the sleeves but no. The sleeves are just super light like her skin. I think it would’ve helped the design if they either made Ruby tan like her sister or made the sleeves a darker gray.

Negatives?

I do love Ruby’s Atlas look but as I said I can’t be biased. As cool and cute as she looks it isn’t a proper outfit for the cold environment she’s in, she even shivers in the show canon. The sleeves matching her skin look weird. An open skirt is silly and what’s sillier is a belt holding it in place. I also really hate how Ruby’s cape was just… replaced. Back then I thought her cape had significance as she continued to wear it even when it was withered and tethered, but even back then I thought her Vale cape held more significance- but anyways it was just replaced. Whatever I guess- oh my god it’s the same cape with lazy fabric around her neck. They couldn’t give her a different styled cape? One where it’s held together by a string? Buttons? Pins? No?...

Redesign

Okay, I know it’s crazy, but I ditched the cape and emblem. I know, I know! I just used the canon logic and since the cape didn’t mean anything to Ruby for it to be replaced, she could just ditch it for now. I know the cape is an iconic element but I couldn’t find a way to incorporate it. I also ditched the metal emblem, I know it’s a ‘mother’s promise’ and her mom’s emblem but uh… she didn’t wear it in Volume 2, I didn’t think she would care to wear it now. I wanted the look to be different but I think I just made Ruby unrecognizable now. I know the formula is to have Ruby wear a cape and the metal emblem but I just… couldn’t. I’ll confess to you guys about something, the main inspiration for this outfit was Ruby’s Ice Queendom design. I love it and wanted to try to get Ruby with that similar vibe, but I can understand if everyone may not like this. No cape, no metal emblem, and looks a little more childish when Ruby is supposed to be mature. I get it, but I wanted to show you guys that you shouldn’t be afraid of drastic changes to designs. It can sometimes work and sometimes not. 

Conclusion

Ruby’s outfit is still arguably the best amongst her team even when it’s not climate-appropriate, as much as I nag about her sleeves being too close to her skin color and the decision of her cape being repaired I still do love it. It isn’t perfect I can admit that but she is on the top best Atlas designs for me. If this outfit was instead held off for Vacuo or a return to Vale, it’d be top fifteen at the very least in all of the designs we’ve seen across the show. 

But of course it’s just my opinion. If you love this design or hate the design, please share your opinion. I’d love to hear it! :D

[greenerteacups]

Hey GTC, I have always been such a fan of your Tumblr and your engagement with the fandom. However I must say that as of late, the questions you’re being asked most often are essentially variants of “Will X happen?” or “Will Y character do Z like in the book?” or even, “I’m noticing Theme A, will it continue in future chapters?”

A significant element of the fun that you’ve created for Lionheart readers is that we don’t know which elements and events of the JKR texts you’ll preserve untouched and which you’ll turn into the sixth and seventh year Lionheart storylines. I adore making my guesses to which parts of canon you’ll play with and which parts you’ll completely and utterly upend. Unfortunately, questions that ask about canon events in books 5-7 ruin so much of the fun.

Historically, you’ve used the Ask box to provide us with analyses of your own work and characterizations, but I feel as if recently you are often indulging questions about books 5, 6, and 7. I hate to say it, but I even feel that your answers veer into spoiler territory. I used to lurk your Tumblr incessantly, but since I’ve started to see this influx in predictive questions these past couple weeks, I’ve been avoiding the app.

It’s such a gift that we get to engage with your work on such a vibrant epistolary and interactive space as your Tumblr. I know that you can’t control what fans ask, but I humbly request that you please consider refusing to answer questions that ask you to ponder future events. Thank you for your tender care to everyone in the fandom. ❤️‍🔥🦁🧡

Hey, what's up, dude. I hear you. Sorry about that.

The problem is that the line between spoilers and not spoilers is totally subjective, and the line between "spoilers that are fine" and "spoilers that bother me" is also totally subjective. I don't know where you are on it, but we probably don't line up, and that's okay. I just don't know how I'd begin to sort out questions that one person considers "too much" from what someone else just thinks is fun analysis. My hard rules are as follows: I don't answer any questions about future ships, events, or arcs (and I get a lot). I haven't revealed anything that I would be unhappy to discover in a Tumblr askbox instead of a fic itself. True, I've dropped teaser/trailer stuff for 6 and 7, but to be honest, even looking over the stuff I've posted recently — I hate to say it, but I disagree with you. It isn't spoilers. Not to me, anyway.

But that's just me! There's no right or wrong answer here, it's just a coordination problem of how we can both cultivate social media experiences that make us happy. For instance: I like answering questions about my fic. It makes me happy to talk to people who want to know what happens. It encourages me and gets me excited to write about it, and I don't believe that any of the content on my Tumblr spoils what's going to happen. I don't really want to stop doing that, so I'm not going to. If that means you and other readers whose spoiler thresholds are below mine can't engage with my Tumblr, that's a natural consequence of us having different attitudes about media, and it was bound to happen. I'm sorry that that's the case, but it would bring me much more grief for you to injure your reading experience than it would for you to avoid my (largely irrelevant) e-journal full of random metatext. I love my fic, and I love my readers, you most certainly included; I do not, candidly speaking, love my Tumblr account. And for what it's worth, I absolutely do not think anything I've written on here is worth diminishing your experience of a story you enjoy. It wouldn't jive with my philosophy of literature and art.

So here's what I got: I'll continue tagging spoilers about past and current events as [#lionheart spoilers], and if a question makes reference to events not published, I'll use the tag [#prognosticating]. That way you can block the tag, and other readers can enjoy content that fits under their threshold of non-spoilerism. If our thresholds still don't line up, then I think the only solution may really be to block the [#lionheart spoilers] tag altogether. That's probably not the answer you're looking for, but it's the best I can do.

[mellarkably]

decided to lay out a few theories that have been solidified for me after watching the trailer!

1) nirmala is getting married. according to an article she has a love interest this season, someone who makes sandwiches, and considering all three vishwakumar girls are sitting on the side for the wedding, i think it’s basically confirmed. also, it’s supposed to be unexpected. can’t think of anything else more unpredictable than pati giving love another chance.

2) the ethan storyline will fizzle out by 405, 406 or 407 maximum. apparently, according to the writers, he has quite a temper, a classic bad boy of sorts. i assume he has something to do with the crude vandalism written on devi’s car after they break up.

3) paxton will give university a chance and decide it’s not for him in 403. i wouldn’t consider this as being regressive, as uni is not the path for everyone. he will work as a swim coach and advisor back at sherman oaks, therefore bringing him back into the love triangle (and also making things easier for the writers to keep him in the story).

also, #trexton4life.

4) ben and margot break up early on. due to the still of ben and margot below, i theorize devi may accidentally start a scene during this, and bring attention to their conversation. how? i’m not sure. 

i’ve never pegged margot to be the type of girl who tolerates any level of bullshit. so i don’t doubt she’ll take herself out of the relationship if there is ex mess involved. either way, don’t think they’re lasting in any way shape or form. mildly sucks because i loved her friendship with ben in s3 but whatever

5) ben and devi will not be on talking terms until 405. regarding why they’re still icing each other out, i’m assuming whatever incident happens in theory 4 above is why ben appears to be ignoring devi, and she is equally mad at him. the still below is from 403.

they patch things up during 405, specifically the scene at the bar when ben sees devi being harassed (?) and helps her out. maybe we’ll get a moment of devi icing ben’s bruise while they finally reconcile. they will NOT get together romantically this early, but will be back on bestie terms. refer to most of s3 benvi for dynamic.

6) eleanor pursues acting in new york and succeeds, which may drive a wedge into her relationship with trent. however, they will last. i also have a slight suspicion this is an eleanor pov episode.

she might also run into her mother due to that scene in the teaser where she is very visibly upset in the same outfit.

7) swimming will be the connection between devi and paxton, as maybe devi gives it another try. she’s said to be in her speedos in a leak during the middle of the season which i assume means she’ll join the swim team again.

this still below is in 407. they might have a moment of rekindling romance here. however, considering how different devi and paxton’s paths are and also the fact that he is now a staff member and she is a student, it doesn’t quite make sense for them to work out realistically or enter a relationship, more on that later. won’t make any guesses further than that, though.

8) devi, fab, and el will not make it to prom. the car crashes. they’re sitting on it while it’s night. that insinuates that they either make it very late or not at all.

9) ben climbs through devi’s window after prom to comfort her. he knows very well how much prom has meant to devi since they were kids and probably understands how much this must suck for devi. he’s also not in a suit which may mean he also could not go to prom. i won’t speculate the reason but it could be related to the altercation at the club if it was during a school field trip, maybe not. either way, they will finally have a proper conversation about their feelings. 

however a) i don’t think they will say their i love you’s here but either way, b) i have a slight feeling they might have sex, this time doing it because they feel it’ll work out and out of love, without any sort of miscommunication. the awkwardness from 401 will not be there post coital antics.

there is also the chance that this entire scene is a dream. i wouldn’t put that past the show because ben has never been the type to climb through devi’s window. however, it is sweet considering how willing ben is to step out of his comfort zone when it comes to her, so i choose to believe it’s real for narrative sense.

10) ben and devi have some sort of prom retry in 410, maybe in the last few minutes of the show, and their final love confessions happen here. the last scene maitreyi and jaren filmed was in a library, and she had a corsage on her wrist after wrapping. as mentioned before, attending prom meant a lot to devi and ben knows of this fact. as for the place, probably their college library, assuming they both go to the same place for post secondary education.

EDIT: it's also possible the library scene is a timeskip into the future. we shall see.

shows do film out of order, and the corsage could have been unrelated to onscreen plot. so as of right now, it’s just speculation

it is important to note that i do not want to assume who is endgame, as i try not to set any expectations. but personally, i don’t understand how devi and paxton would work from here if devi is going to university and paxton is staying at sherman oaks. her future seems to align with ben’s more. writing wise, and just logically, it would make more sense.

anyway, if i think of any more i’ll add them! thanks for entertaining my delusions ideas.

[mrfleshwizard]

This isn't necessarily a Charlie and Lucifer hate ask but it's something that has to do with Helluva Boss and an future episode where Fizz and Ozzie go to court... At least that's what I think it is, judging from the teasers in the trailer and all.

I'm not watching HB anymore so of course I already know that they're gonna get a non guilty verdict considering what everyone's reactions were of their relationship in ep 7, which sucks because vivziepop is afraid for her favorite characters to have consequences of their own behaviors and what they're doing yet Asmodeus losing his title as the sin of lust (and probably get executed idfk) and Fizz getting executed because they broke their own one rule would've been alot better, and that it would've shown that Asmodeus got too cocky and got his heart far up his own sleeve to realize that he fucked up, and it would teach the audience that when it comes to breaking rules in hell, it's not to fucked around with.

But nope they're gonna get a guilty verdict and live happily ever after and it's gonna leave a sour taste in my mouth... I'm not even gonna watch HB since I've stopped watching and stopped caring about her stuff long ago.

(Just a random fun concept to add here: If Vassago is going to be their defense lawyer it would be more interesting that despite him being prince of good nature, he hates the deadly sins and doesn't like Fizz all that much – though he doesn't say anything about it cuz he doesn't want to get his skull bashed open – so essentially, he's forced to defend the two people he doesn't like the most... But I already know that he's just gonna be a good boi that is uniteresting and has 0 complexity and aspects to his character... It's a shame she doesn't do reasearch to any of the shit she's writing in her story and only doing that just to gain brownie points and be praised for it)

I didn't watch the HB trailer. One thing I watch from hb it was the last short where Blitzø called an animal a slut.

I guess they are going to court becouse they raletionship. They be plead not gulity is true.

You're idea of what would happen is very intersting. I dislike Asmedues for a reason and I personally prefer Blitzø x Fizz, so I wouldn't mind him losing his title.

Your Vassago idea is amazing. Him disliking sins has sense. For what I seen most of them are unlikeable. Vassago motivation to help Ozzie and Fizz with the court stuff is "He doesn't want get his skull bashed" makes sense and it would show how the sins are/were bad people.

But you're right that Vassago probably would ended up kind a boring. I thought he would be a short time villain who quickly becomes good..

Viv not doing a research is pissing me off too. She lost so many chances to make this story fun but NO Viv prefers her OC having ONLY names of religious characters and nothing more. (Yes this target to how she handle Lucifer, Lilith and Adam.)

[iniziare]

Consider Yelan's facial expression to be my own in reaction to opinions shared on both X and Tumblr, and I guess I'm in the minority of the 'loud ones', but I'm pretty excited for Natlan since that trailer, actually. The previous teasers left me a little 'eh', but this definitely got my hopes back up, and I'm back in the right spirits for it (and ready to catch some Pokémon.)

Now I wouldn't be me if I didn't touch on the salt that I've seen scattered across the dash, so here I go. Listen, I read people's objections and I see what you're all aiming at, but in that light want to note that it's often incredibly easy to point fingers (arguably too much so) at others while being, quite honestly, hopefully rather aware that many of our own countries, cultures, and its populations across the board (and no, I'm not excluding anyone here) would likely be just as easily guilty as MHY is with these things. And no, I'm not blindly defending them, but I also won't point fingers at only one without pointing them everywhere else as well, including those you might think would 'never do such things', because I'm absolutely certain that they would. /continues on in the tags.

[e-adlirez]

So the GS movie right

Hello fandom newbies, yes there's a GS film that was announced in 2023

Just thinking about it again because uh, we got ding dang nothing about it besides the teaser poster that was put up when the news came out in the middle of April 2023. No release year, no cast, not even a screenwriter-- we just know from this article on Atlantyca's official website and this English article that Radar references on their website that it's gonna be made by Radar Pictures (the company behind the Jumanji movies), David Soren (the man behind the Captain Underpants movie) is gonna be directing, and we have producers Anthony Tringali, Michael Napoliello and Maria Frisk from Radar. (If ImdB is not screwing with me rn, then I guess they're also working on the Bendy and the Ink Machine film, but take that with a massive grain of salt.)

We don't even know about what artstyle the film is gonna be in :D all we got is this, and while it is very nice and cute, I am lowkey terrified for what G's gonna look like for realsies beneath that extremely conveniently positioned camera :D lord forbid another Sonic trailer situation winds up happening here :D

Atlantyca (GS's copyright holder) is apparently gonna be working with Radar to make this movie happen, so uh no Percy Jackson situation is gonna be happening (thank god), and uh that's it :D

We're gonna have to hold on a little longer, Stilton fandom, but we will be fed 😔✊

Soren is the director so the bar's already pretty high considering the Captain Underpants movie and its success, so I wager that we will be fed well

I just hope the film doesn't come out super-early like, 2025 or something. What is this, Disney and Marvel churning out movies with only two years of development? No thank you to that, please, Wish was disappointing and I don't want lackluster mainstream food that tastes on par with Wish. We have standards, people even though we've barely been fed in the English side of the fandom besides the GS graphic novels with the cute lil' rat man artstyle IT'S GOOD YOU GUYS TRU--

Anyway uh, GS ramble over, time for me to hunker down and wait at least until 2029 or something for the film /pos

(and write SPN)

[ericmhe]

Evolution Motivation

I remember my initial trailer reaction went something like "He's purple-pink... also guess he grew longer arms out of sheer force of will" and considered making a joke comic of it. I made some sketches but didn't go that far, so I went back to do some more with it but I was pretty tired by the time I got to MechaGodzilla. Also, just never expect me to bother to make a decent Skar King, I didn't care about him at the teaser and I really don't after the movie.

[torturedblue]

TMNT MM trailer thoughts part ✌🏽

Part 1

The throwing stars Raph uses in the teaser led me to believe they must make some of their own weapons and the ones we see on Leo’s belt in the official trailer make it seem even more true. Raph’s already look manmade whereas Leo’s are more polished and look more traditional, very on brand for him. It also wouldn’t be first time an interation showed the turtles regularly making their own weapons. 2003 did it a lot I believe

Donnie’s got that crazy look that Rise Donnie gets 😂 But also literally I look at them in this van and I’m like omg they’re 12 why are they driving-

The voice crack on “It’s not a problem! 🤪😈” Hilarious. The genuine looks of fear and concern he gets? Also hilarious.

I’m really interested in the implication that this 2023 version of an Evil League of Mutants is also going to try and get the turtles into their plans. Not just that, but that maybe possibly the turtles might hesitate or consider it. Not to destroy humanity of course but that bc humans wouldn’t accept them and there are actually other mutants out there it’s another place for them to go

They already know Superfly’s a villain so ig it can’t be a whole thing where the turtles are naive and join the gang of mutants before realizing they’re actually evil, but I find that would be really interesting. Looking for comradery and being curious about other mutants, it’d be cool to see a route where at first they think they have a space with other mutants then dealing with the disappointing realization it’s an anti-human group that plans to take over NY or whatever and instead they have to stop the very people they thought they could find solace with

Whew. Ok. One, this shot. Oof, they look exhausted. Not just that, but like they just took some emotional hit. Them adult mutants must’ve really gotten their licks in on these babies. Plus I’m guessing this might be their very first mission, too. At least their first huge one.

Two, it really reminds me of the second Bayverse movie. Like almost the exact shot of all four of the turtles putting their hands up in the police department while one of the cops shouts that they’re monsters… and then we see Mikey’s hurt face ☹️ I think this is going to be followed by one of those moments, and probably prompts that speech Splinter gives them about being wise and brave and having heart and honor. It’ll be interesting to see all four of the turtles dealing with this hurdle instead of just mainly Mikey

[nalyra-dreaming]

hello! two things

first, ive been hearing that the show was greenlit many months ago and its confusing me? rolin from the way he spoke at comic con and interviews sounded like they had to rush the teaser and have literally nothing written down yet, just ideas and a lot of talking about music. which makes the official announcement legit. of course just in case rolin was already brainstorming as i said. but if they had months i guess now it is the right time to say "hey actually...", you know? season 2 was renewed so early because eventually they explained it was supposed to be one season, but amc told him "make two actually" and they had to rewrite for more episodes (so thats why assad could do the santiago monologue for his audition). and then they told us afterwards. so why dont tell us now they knew a long time ago? it would be the right time. but in the last interview rolin literally said "this is all bullshit (they were talking about what will happen in season 3) because we havent wrote down ANYTHING yet". so i guess they never lied about the show not being greenlit yet... i mean i cant see it, in months they should already have a full on trailer, not a teaser that rolin said was even rushed. its a confusing piece of information...? i guess when they will start shooting in fall it will include the documentary parts, the ones we saw in the teaser felt more like experimenting with season 3 vibes, "a sort of sneek into a POTENTIAL season 3", quoting rolin. and till then they will do all the music and write scripts and do the auditions. if not, it doesnt make sense. with months available they had the chance to do much more...?

second, (more lighthearted), considering this taylor swift situation (sorry im not a swift listener but i heard there is a feud sort of with lestat? lol?) he didnt have to say justin bieber in that teaser... he had to say TAYLOR SWIFT in hindsight (oh, if rolin knew). just imagine... just imagine. i would love a playful feud between fiction and reality. totally fantastic, in the lines of that vulture article. also like the boys' vought international youtube channel and people in the comments going with it. it would have been mindblowingly hilarious.

Hey!

So I think the season was indeed greenlit for months (I know others knew about it), but they were under gag order, because the focus was on the second season, and they didn't want to take away from it. And, given history, the announcement would have overshadowed it. I think it was a good move.

But in order to have music DONE, and a teaser video?! They have been on this for months. I also think they have been casting, and doing chemistry tests and so on in the meantime. That takes time.

I do believe Rolin when he says he has nothing "written" yet - remembering Sam saying they had only two(!) scripts ready when they started shooting season one, it means that Rolin has a LOT in his head that he then churns out.

As per Justin Bieber... I believe that is a play on an article that happened ages ago, where someone confused Anne Rice with Anne Frank, and Justin Bieber visiting the Anne Frank House in Amsterdam. I remember that throwing some waves ... back then (cannot believe the site is still up).

But yeah, I think "The Vampire Lestat" will - maybe has already - breached pop culture beyond fiction... if they really release a double album with music that hits like the first single???? We're in for a ride, baby :))))

[leofrith]

A Critique of ACV: The Last Chapter (SPOILERS!)

I wanted to hold off on sharing my thoughts about the new content until I’d given The Last Chapter time to breathe, because I was honestly hoping that maybe if I gave it some time, I wouldn’t dislike it so much. But the more I think about it, the more I find things to dislike about it. Which is why what started out as a quick write-up of my thoughts immediately after playing The Last Chapter has now spiraled into this very long critique that got so long I needed to add subheadings to break it up. 

Sorryyyyy. 

I’m basically spoiling everything from The Last Chapter here, along with Assassin’s Creed: Valhalla and parts of its expansions. I also briefly mention a few other Assassin’s Creed games, mainly Odyssey and one of its DLCs. My point being, if you don’t want to know anything then please look away now. Or don’t. But I know I would have appreciated a warning before diving into this mess. 💀

As a disclaimer: this essay is not meant to be an attack, nor is it meant to place blame squarely at the feet of Darby Mcdevitt, or any of the other writers or developers involved with the game. There are so many moving parts in a game as expansive and with as much add-on content as Valhalla, and I can only guess what happened behind the scenes that brought us to this point. I don’t know who wrote what, who made what creative decisions, and I therefore don’t feel comfortable placing blame on anyone in particular. I have never worked for Ubisoft and I can therefore only speculate about their internal culture based on what has been leaked from the company over the years. Furthermore, this is not an invitation to personally attack anyone involved in the development of this game on Twitter or wherever else. This is purely an attempt on my part to articulate why me and so many other fans of Valhalla and of Eivor feel so profoundly emotionally betrayed by this ending, as well as outline some factors that I believe contributed to the way the game was mishandled. 

So. I think I had already accepted when the trailer released back in September that something like this was going to happen. I had already done my mourning for the fact that Eivor would never get the send-off she deserved, which is why I think I’m a lot less upset than I would have been otherwise… but that doesn't make this suck any less. The Last Chapter was completely underwhelming, it was emotionally unsatisfying, it completely butchered Eivor's character, it felt incomplete, and rushed, and it felt more like a teaser for Mirage than anything close to the conclusion Eivor’s story deserved.

The (Character) Assassination of Eivor Varinsdottir

When we first meet Eivor as an adult, she is overconfident, brash, and she has just gotten in over her head and gotten both herself and her crew captured by the enemy. She is in the 17th year of a quest for revenge she has been in pursuit of since she was nine years old. She has spent more than half of her life hunting Kjotve, the man who stole her parents, her clan, and her childhood from her, and is fully prepared to die if need be to kill him. She is an orphan who was taken in by the Raven Clan after the slaughter of her own people, and she considers these people to be her new family. Her love for her family and community are central to Eivor’s character right from the beginning. While she learns and grows past some of her flaws throughout the game, her love for her community and her loyalty to them is what sticks with her. 

Eivor also starts the game carrying an immense amount of shame for how her father died, laying down his axe in the hope that the rest of his clan would be spared, only for he and most of his people to be slaughtered anyway. Through her time spent acting as a leader to the Raven Clan–first as a warrior and later as their Jarlskona–Eivor finally understands by the end of the game why Varin did what he did, because she realizes that she would make the exact same choice to protect her people. Eivor, too, would choose to die in “dishonor” if it offered even the smallest chance to save her loved ones. 

Eivor is the reincarnation of Odin; she carries his memories and his thoughts, unbeknownst to her. She has visions and prophetic dreams and hears his voice in her head, but spends much of the game not understanding the meaning of it all. The part of her that is Odin pushes her toward chasing personal glory, toward the pursuit of knowledge, toward selfishness. But she chooses to abandon all that in favor of the people she loves, even as Odin rages and screams insults into her ear and calls her a coward–the one thing she has always been most fearful of becoming. Odin is a representation of everything she has been told to value in life, and she is (literally) pulled in the opposite direction by Sigurd, Randvi, Hytham, Valka, Gunnar, Soma… everything else. 

Eivor never truly seems to grasp the meaning of her connection to Odin, Sigurd’s connection to Tyr, Basim’s connection to Loki, or anything about the sages or the Isu at all. Not in the base game or in any of the DLCs. She never really acknowledges it explicitly until The Last Chapter. 

Put a pin in that.

Family and community are central to Eivor’s character. Loyalty is central to Eivor’s character. Honor is central to Eivor’s character. That’s why it makes absolutely no sense for Eivor to drop everything, seemingly out of nowhere, to go back to Vinland alone and live out the rest of her days learning from Odin, the part of her that she explicitly rejected at the end of the main game. And it certainly doesn’t justify Eivor deciding to leave Ravensthorpe in the middle of the night without a farewell, regardless of who she supposedly said goodbye to offscreen. It doesn’t justify her completely sudden and out of character decision to walk away from her clan, her family without a true goodbye. Eivor spends the entire base game acting as Jarl in Sigurd’s stead in everything but title, because Sigurd has all but completely abandoned the clan in order to chase his own ambitions, only for Eivor to supposedly do the very same thing? No. It’s completely incongruent with her character and actively contradicts facts that were established in the main game.

There are so many other inconsistencies, including the fact that I highly doubt Valka–the same Valka who we saw warn Eivor against digging too deeply in her visions in the intro to The Forgotten Saga–would simply accept Eivor departing for another continent to delve deeper into her visions. But the way they miswrote Eivor’s character was particularly glaring. There could have been a version of the last chapter in which Eivor's motivations actually made sense, but that version needed so much more evidence for it to be believable. Reading between the lines is one thing, but expecting players to accept the conclusions you’re feeding them without planting any seeds beforehand is just lazy writing. [insert “HE WOULDN’T FUCKING SAY THAT” meme]

The RPG structure is the root of all evil (I know just… hear me out on this)

I think applying an RPG structure to Assassin’s Creed was a mistake, and have thought so for a while, but not really for the reason you’re probably thinking of. The “but we’re reliving another person’s memories in the animus, so how can it possibly make sense to allow us to make choices that affect the narrative?” reason. My criticism of the addition of choices is mainly this: I think that by trying to “expand” the story by adding RPG elements and dialogue options, they instead ended up severely limiting themselves. Because the problem with adding dialogue options to Assassin’s Creed is they can never take those choices to their conclusion. They can never truly have consequences.

Trying to tell a linear story with a non-linear structure like this doesn’t work, or at the very least, it hasn’t worked in Assassin’s Creed thus far. Odyssey came closer, I think, because it had multiple distinct outcomes and player choices actually had an affect on the trajectory of the plot (Mostly. Hi, Legacy of the First Blade. I’m coming for you in a minute.). Odyssey's multiple endings present a different problem entirely in the context of Assassin’s Creed because despite the input of choice, there is still a canon version of the story and a canon ending. It leaves those players that arrived at a different outcome feeling alienated, and like their choices were incorrect or simply didn't matter. 

But in Valhalla, all roads lead to more or less the same destination and most decisions have no impact on the trajectory of the story. The problem that arises from this is that players will make their choices and expect some sort of payoff, as they should. But they won’t really get it. As per Darby McDevitt, for example, Sigurd always goes back to Norway at some point, regardless of whether a player ends up with the “good” or the “bad” ending. Sigurd returning to Norway is a fixed point and the timeline will always course correct, so to speak, to reach that end. 

(Thank you @/vikingnerd793 for the screenshot!)

Everyone gets more or less the same version of The Last Chapter, with the siblings’ interactions only varying slightly after the “bad” ending to reflect the fact that Eivor and Sigurd haven’t seen each other in a while. But even with the tiny variations in dialogue that exist, a few changed lines in a scene that doesn't last any longer than two minutes still fail to make Eivor and Sigurd's supposed off-screen reconciliation feel even remotely earned. Ubisoft wanted to offer “choice” while not following through with emotional payoff for those choices because they only wanted a single ending. Even if a player ends the main game with Sigurd deciding to stay in Norway as a result of Eivor’s “betrayal,” the consequences of that to their relationship are never truly explored.

Having only one ending with no variations in an RPG means that they couldn’t address any of the plot points that could have been affected by player choices. Interpersonal conflicts are watered down or only vaguely referenced. They couldn’t truly address the state of Eivor and Sigurd’s relationship because that would depend on what endgame the player reached. They couldn’t give Randvi an actual goodbye because some people didn’t romance her and therefore it might feel “forced” to those people, despite her being a major character. Vili–despite apparently being Eivor’s best friend–can’t appear because for some people, he’s busy being the Jarl of Snotinghamscire. There is no true emotional follow through for any of the choices made throughout the game. The end result is a goodbye tour consisting of Aelfred, Guthrum, and Harald, three people who Eivor has little to no emotional attachment to, but whose roles in the game are fixed no matter what choices the player makes, which means they’re safe to use. To be clear, Hytham’s role in the narrative is also fixed, but the reason I separate him from the other three is because he is actually emotionally significant to Eivor. His goodbye, unlike the other three, feels earned. 

To be clear, I don’t place the blame entirely on the writers for this because, as I’ve said, they were given a franchise that revolves around linear stories, told to put dialogue options into it, and make sure all those choices still lead to the same conclusion. As an extension of that, they brought back people who worked on the base game two years after its release to tie up loose ends that should have been dealt with years ago. I wouldn't be surprised if those same creators have all since moved on from this story and its characters, both creatively and emotionally. It's been two years. Even longer than that since they actually worked on the game. I wouldn't fault them for not having the same enthusiasm they once did. But the end result is a last chapter that feels almost completely devoid of emotion, and ties up absolutely none of the loose ends that most people would expect from a permanent “goodbye.” It fails to reach the emotional highs and lows that a conclusion with two years of build up should have. 

Which now brings me to Randvi. 

Oh, Randvi, now and forever shackled to her map table. 

I know this will be a hard pill to swallow for a lot of people, but I always suspected that they would never actually follow through on making Randvi and Eivor's relationship canon despite the fact that it is indisputably the most fleshed out romance in the game. They are hinted at right from the beginning, in the form of Randvi’s clear dissatisfaction with her marriage to Sigurd and in Eivor’s lingering gazes. It is the only romance option in the game that has any effect on one of Eivor’s core internal conflicts: remaining loyal to her brother. “The wind calls [her] back to Randvi” after almost every single regional arc, whether players choose to pursue a romance or not.

But Darby McDevitt Official Headcanon or no, I never thought Ubisoft would "force" another romance after the backlash from Odyssey's Legacy of the First Blade (I told you I’d come back to it). I truly believe the company will and has happily suffered criticism from the Queer community for forcing a relationship on gamers who played Kassandra as a lesbian. Kassandra who, prior to the DLC, also never shows any interest in starting a family, or becoming a mother, or “continuing the family line”, as would become Ubisoft’s flimsy correction to the storyline after the criticisms started rolling in. But I highly doubt they would be okay with alienating the bigots who seem to form the loudest portion of their player base. That would be too much of a risk to their bottom line. 

To me, the romance plotline in Legacy of the First Blade was the inevitable result of Ubisoft wanting to tell a linear story with a non-linear structure. I think they did so without thinking through the implications of letting players choose their character's sexuality, only to then backtrack on it later because they needed Kassandra to have a baby. And what they seemed to take away from that was only that all forced romance is bad, without grasping the nuance of why that particular forced romance was so bad. This isn’t to say there should be any forced romance at all but that it should have served as a lesson of why one shouldn’t make a game with so much emphasis on player choice, only to take that choice away and even retroactively nullify those choices when it suits the needs of the plot. But that wasn't Ubisoft's takeaway. So in Valhalla, they pulled back. They made all player choices matter just a little bit less.

Eivor and Randvi’s relationship is inarguably handled with more care than any of the other romances in the game. It is inextricable from the narrative, whether it is a romantic relationship or a friendship. But despite any amount of blatantly obvious subtext that exists, Valhalla is still an RPG and the creators cannot confirm or deny any of the choices as correct or incorrect. And because they have to cater to all possible endings, they cannot address Eivor and Randvi’s relationship in any capacity because it might be misconstrued as being forced. Despite every overt piece of evidence that exists, Valhalla is still technically an RPG and at the end of the day, plenty of people did not choose Randvi. No amount of narrative director headcanons or heavy subtext will change the fact that Randvi is a seemingly meaningless choice in a sea of meaningless choices, and has now remained so permanently.

Ubisoft just really sucks as a company, actually

Everything that I am about to say in this section (and honestly, most of the next one as well) is conjecture because again, I don't know how certain creative decisions were reached behind the scenes. This isn't just about Randvi, or about Eivor's sexuality. It’s also about Ubisoft’s long and storied history of internal misconduct and suppression of marginalized voices. It's about Ubisoft's history of employee abuse in general. It's about the fact that Ubisoft suddenly decided to let players choose their gender, but only once they finally got around to making mainline titles starring women. Syndicate’s Jacob and Evie share the role of protagonist, and would have also shared equal screen time if Evie’s role hadn’t been significantly minimized throughout production in favour of her brother. Aya was originally meant to replace Bayek as the main playable character early on in Origins, but was later reduced to a side character who is only playable in a few missions throughout the game. Aya, the founder of the Hidden Ones. The order that would later evolve into the Assassins. The order that is the namesake of the entire franchise, just to be clear. Odyssey was originally conceived as Kassandra’s game, before the developers were made to allow players the choice to play as Alexios. Every female protagonist in the franchise thus far has been minimized in some way, and Eivor is unfortunately no different. 

Assassin's Creed is a huge enough brand at this point that they could have easily released Odyssey with only Kassandra, and Valhalla with only Eivor. But instead of taking a "risk" and doing just that, they added the male options to cater to a small but vocal minority of misogynistic piss babies who don't want women to exist in their video games, period. At least, certainly not as fully realized characters with personalities and thoughts and feelings of their own. That would require acknowledging women as people, rather than as identical playthings that mostly exist as a social stealth mechanic for them to hide behind when they need a cover. 

It’s especially funny because it was such a futile effort. That very same group of people was never not going to complain about Assassin’s Creed going “woke” for having female protagonists, even if they were optional. Those people were going to complain no matter what, and they absolutely have as evidenced by the fact that they've been having a conniption on Twitter for the past few months now that Eivor is suddenly getting even half of the attention from the marketing team that Havi has gotten for two years. The comments section on every official social media post featuring Eivor is a sea of people complaining about how “female” Eivor being canon makes no sense, how her voice sucks, how she is just the result of Ubisoft pandering to a “woke” demographic. The “fan” response could not be more blatantly misogynistic. What’s more, Ubisoft bases the trajectory of their games at least partially on fan responses. It’s a toxic feedback loop of them making creative decisions built on sexism and the fans responding in turn. 

Ubisoft deciding to implement gender choice as a mechanic didn't happen because they suddenly had a change of heart after happily ignoring their female players for years. It happened because they got busted for the "women don't sell" comments and the company's history of burying sexual assault allegations, and because they finally caught on to the fact that catering to gamers that aren't cishet men might actually be profitable. And it wasn't for lack of trying from the devs within the company because again, Origins was originally conceived as being Aya's game, Evie and Jacob were at the very least supposed to have equal screen time when development on Syndicate was in the early stages, Elise's role in Unity was also reduced... you get the idea.

Letting people choose to play as a woman or letting people choose to play as a Queer person is great. But it's an obvious cop out when your company also has a history of suppressing those very same voices, has done next to nothing to remedy the toxic company culture that encourages that behaviour in the first place, and when you've been dragging your feet as a developer about making your games even just a bit more inclusive for years. It’s an empty gesture when those female characters need to be watered down just enough for their male counterparts to make some amount of sense in the story, and when the marketing for the game hides them away like some kind of shameful secret. 

Suddenly making games starring female protagonists because you’ve realized that it might be profitable, while also making it optional anyway, isn’t exactly the win for representation they seem to think it is. Especially when the marketing favours the non-canon, male protagonists so totally that most people would assume Eivor and Kassandra are skins of their male counterparts. Because heaven forbid the poor baby boys have their escapist fantasy shaken if they have to play as a woman who’s better at getting girls than they are. Making your representation optional makes your representation look half-assed and while I absolutely adore Eivor and Kassandra, I mourn what they could have been if their stories were allowed to be fully theirs. 

Perhaps I’m being overly harsh and Ubisoft simply decided to implement gender choice in Valhalla in good faith. I honestly wouldn’t care if I thought it had, or if AC games had always allowed players to choose their gender. But considering the company’s history, and considering the game’s marketing, I somehow doubt that. Especially when, in their first game featuring a canon male protagonist since before AC pivoted to RPGs, they are not giving players the option to choose their gender. 

Hi Basim. 

Now don’t get me wrong. I obviously understand why Mirage doesn’t allow players to choose their gender; Basim is a pre-existing character, and it really wouldn’t make sense. But it is so transparent that they are willing to jump through narrative hoops to explain why Alexios is playable as the Eagle Bearer, but the same thing can’t be done for Basim. I suppose the importance of coming up with convoluted reasons as to why your protagonist’s gender is so easily changeable fades away when you’re not trying to replace a woman. 

But what’s this? By God it’s–it’s Mirage with a steel chair!

The final content update for Valhalla feels like a teaser for Mirage. Full stop. If you think I'm being too harsh or unfair, then that's your prerogative. But in The Last Chapter, in the long-awaited conclusion to Eivor’s story, we don't even get to play as Eivor. The entire questline (if it can even be considered that much) consists almost entirely of cutscenes, which we view through Basim's perspective while Eivor is relegated to a side character. It’s a collection of Eivor’s memories that are supposedly filtered by emotional intensity, as Basim puts it. Grief, longing, sadness: all emotions that I fail to see being presented in the memories they gave us, at least for the most part. For the first time in Valhalla, we are voyeurs to Eivor’s memories rather than experiencing her life through her own eyes. The role of the animus user in past Assassin’s Creed games has always been pretty unobtrusive, but The Last Chapter constantly reminds us that Basim is there and watching. "Animus magic," as Basim calls it, was less of a necessity to the plot and felt a lot more like Ubisoft's marketing department gone awry. 

I'm thinking about what Basim says at the end of the base game, when he is in the modern day and speaking to Eivor's remains. When he says, "I can take from you anything I want... your memories, your skills, your secrets. They're all mine." It's so ironic because he really stole Eivor's ending right out from under her, and I would have to laugh if it didn’t suck so much. It's all I could think about while I was watching Basim flippantly scrub through some of Eivor's most "emotional" memories which for some reason include… saying goodbye to Guthrum, a character we spend very little time with in the grand scheme of things, and who Eivor has next to no emotional attachment to. I understand the desire to tie up loose ends in terms of the historical events that were happening around this time, and they absolutely should have done all that because Assassin’s Creed has always been, in part, an exploration of history. But it should not have happened at the cost of providing closure for characters who were such significant figures in Eivor’s life.

I thought the Roshan quest was fun and I loved her and Eivor’s dynamic, even if we only got a small glimpse of it. But it was development time that could have been spent on wrapping up Eivor’s narrative instead of making another timeline agnostic add-on stealth mission in a game that has always had notoriously janky stealth mechanics. I look forward to seeing more of Roshan in Mirage and can now rest easy knowing that she is going to survive to the end of that game (although I cannot fathom why they decided to spoil that so early on). But they used what was apparently very limited time to give us a quest, very clearly a nod to Mirage, that does more to promote their next AAA title than serve the narrative of Valhalla.

Using the ending of a game to lead into the next is fine and is to be expected. But that transition should not come at the cost of a resolution for the story you're leaving behind. And really, it seems there was far more thought put into Basim and William Miles' first meeting than how Eivor came to the decision to leave for Vinland. 

I think Basim is an incredibly rich, complex character, and it will be interesting to see what direction they take his prequel. But as someone who has actually been really excited for Mirage, the way they've dealt with this transition between games has left me feeling so conflicted, not least of all because of how quickly Ubisoft dropped the ball on Valhalla as soon as Mirage was announced. I’m not sure I’ll be able to look at everything we will be gaining with Basim in the next game without also feeling bitter about everything we lost with Eivor. It’s not terribly surprising, since Ubisoft has never treated Eivor’s character with any amount of respect; not in the marketing, and not in most of the post-launch content that has come out in the past year. 

The post-launch that launched absolutely nothing

Darby has now said that The Last Chapter is meant as more of a direct follow up to the epilogue of the main campaign, to be played right after Gunnar's wedding. This is why they didn't feel the need to show a goodbye between Eivor and her people; the wedding functions as a sufficient goodbye to the Raven Clan.

But even if that was even remotely satisfying, it doesn't explain when Eivor came to accept her role as a sage, a role that she has yet to understand by the end of the base game, even if she is perhaps beginning to question it at the very least. It doesn't explain why it was never truly addressed in any of the some 100 plus hours of content that have been released for this game since then. It doesn't explain why Eivor and Randvi might finally pursue a relationship, only for Eivor to suddenly pick up and leave for Vinland, alone and permanently. It doesn’t explain why Eivor would leave for distant shores without saying goodbye to Ljufvina, or Vili, or Stowe and Erke, or Broder, or Oswald and Valdis, or Swanburrow, or any of the many other people whose relationships Eivor cherishes throughout the game. 

If anything, The Last Chapter being played immediately after Gunnar's wedding and the rest of the Hamtunscire epilogue makes it even more important for Eivor to say goodbye to her people, because that whole arc only cements Eivor’s devotion to her people, as well as how much her “encounters” with Odin have shaken her faith. Even then, that doesn't even touch on when or why she came to the decision to leave in the first place. 

Due to a “play anytime” approach that Ubisoft–for reasons I cannot even begin to fathom–decided to take with all the post-launch content for this game, all DLCs for Valhalla are exactly that: they can be played at any time. They go to great pains to avoid spoiling story points from the base game, they rarely make references to events from the base game and, perhaps most critically here, they don’t build on any of the plotlines of the base game. 

Remember that pin we stuck in Odin earlier? Hi. He's back.

None of the DLCs released in post-launch–from Wrath of the Druids to The Siege of Paris, to smaller, free additions such as the River Raids–touch on Eivor’s connection to Odin or her understanding of it, or any of the other potential threads left behind by the base game. Other more mythologically inclined entries like the Mastery Challenges, Dawn of Ragnarok, and The Forgotten Saga scratch the surface of it, but never dig deep enough for Eivor to put two and two together. Even in the Odyssey crossover with Kassandra, who has intimate knowledge of the Isu and their artifacts, Eivor remains completely clueless about her role as a sage despite it being the perfect opportunity for her to learn more. 

At no point is Eivor shown to make any wild revelations about her Isu heritage that could justify her decision to leave. There is a gaping hole in the narrative where that development should be, and therefore the jump from “everything else” to “I’m older now, and I want to learn from the god who lives in my head,” is unearned and comes from completely out of nowhere. The DLCs could have remedied this easily by giving us deeper insight into how Eivor interprets her visions, specifically how she interprets her relationship to Odin. They could have dug into how and when she comes to terms with that connection, and the same could be said for how she comes to know about all the other sages, including Harald, who Eivor and Sigurd suddenly seem to know about being the reincarnation of Freyr despite not seeing him in more than a decade and never mentioning it before. But they can’t, because the DLCs are playable at any time, and therefore cannot discuss things the player may not yet understand.

The brevity of this DLC was especially jarring, even as someone who went into this with low expectations. Because after two years worth of updates, including some sizable free ones, I thought that surely Eivor’s conclusion would be considered important enough to receive the time and attention it deserved. After all, Kassandra got her own surprise ending in the form of the Crossover Stories, announced completely out of nowhere two years after the last DLC for Odyssey was released. After all the time and effort and love that clearly went into that crossover, it seemed reasonable enough that the ending for Valhalla, a game that was still being supported, would have the same amount of effort put into it, if not more. Instead we got a barely there wrap-up that lasts maybe 45 minutes at most, if you’re being generous, and fails spectacularly at offering the catharsis that should be a no-brainer in a story where the main character’s death has been a mystery to be unraveled, right from the beginning. 

Eivor is dead. She has been dead for centuries, buried across an ocean from everyone and everything she knew in life. The how and why of Eivor’s burial site is a question that follows us through her entire journey and throughout the entire game. One that was never resolved… until now, with some vague notion about leaving everything she has worked for and everyone she holds dear behind in an attempt to find herself, all with the help of an entity with whom her relationship has been tenuous at best. Eivor decides to banish the part of her that is Odin because she doesn’t like that part of herself. That second soul, the part of her that values personal glory above all else. Even in The Last Chapter, she describes Odin’s memories as “malicious.” So why backtrack so completely? 

I have no idea.

It’s possible the developers weren’t given enough time to give this final chapter the breathing room it needed to make sense. It’s possible they had lost enthusiasm, and just wanted to rip the band-aid off and get this thing over with. It’s possible Ubisoft wanted to cobble together the scraps of a potentially satisfying ending so they could say they did it, before turning all of their attention to their next title. As it stands, I wish they had just left Valhalla alone, with an open ending, instead of providing a non-answer that feels like an afterthought. An incomplete conclusion to a story and a cast of characters that many of us still care so much about, but Ubisoft seemingly gave up on long ago. 

Eivor deserved better. 

The Raven Clan deserved better. 

Valhalla deserved better. 

We, the fans, deserved better.

If you actually read this far then there is a good chance that you also need therapy

This whole affair really reminds me of the last time I felt this profoundly disappointed by a piece of media I loved. It reminds me of how I felt after watching the second season finale of The Mandalorian, when it hit me that the whole season had just been a series of various cameos and fan service moments that only made sense to the plot at a stretch. It hit me that I had just spent the previous eight weeks watching the show runners completely sideline their main characters–Din Djarin and Grogu–and lose the plot in favour of promoting future Star Wars projects. When it seemed like all the good writing in the show previously had been entirely accidental. But the major difference between The Mandalorian and the ending of Valhalla is that I knew there would be another season of The Mandalorian to potentially patch things up and pick up on some of the plot threads that were dropped. For Valhalla, this is it. There is no more content upcoming that will patch this up and, in hindsight, there are plenty of other things added to this game in post launch that I think would have also made me feel the same way I feel right now if I knew they were the last piece of content we’d ever see. 

Am I overthinking this? Perhaps. Am I being melodramatic? Probably. But to me, this ending for Eivor feels like yet another perfect example of what happens when corporate interests are allowed to dictate creative decisions. 

I say all this as someone who has and will continue to defend a lot of Valhalla’s faults, because if writing this whole thing has done anything, it has served to remind me how good the core narrative of the base game really is. It has depth, it has heart, and I hope that other people who enjoyed it as much as I did–and are as disappointed by The Last Chapter as I am–are able to reconcile the beauty of Eivor’s character arc in the main game with the way it was seemingly undone in The Last Chapter. 

I’m trying my very best to not let this ending retroactively take away all the joy I’ve found in this game for the past year. And in spite of how negative this critique has been, writing it has actually really helped me do just that. Because in writing this critique, I was also looking back on Valhalla’s narrative, its highs and lows, its major plot points, and I was re-watching clips. A speed run of Eivor’s greatest hits, if you will. 

I was reminded of why I connected so strongly with Eivor in the first place. I was reminded of her strength, her kindheartedness, her love of children, her wit, the poetry of her dialogue, her sense of duty. I was reminded of her rage, her single mindedness, her sense of loyalty that is often to her own detriment when she offers it to those who don’t deserve it. I was reminded of her character arc from someone who spends so much of her life on a single minded quest for revenge, to someone who becomes a beloved leader to her people. 

I was reminded of the Valhalla sequence at the end of the game, a sequence that still makes me cry just as much now as it did the first time I played it, if not more. When Eivor, who has spent most of her life feeling nothing but resentment and shame toward her dead father, finally learns to understand why he did what he did. When she understands why he laid down his axe, the very same axe she holds now, in the futile hope that his daughter, his wife, and the rest of his people would be spared, only for most of his people to be slaughtered anyway. When Eivor has finally realized, through years of acting as a leader to her people, why Varin did what he did, even in opposition to everything she has ever been taught to value. When she has grown enough to realize that she too would make the exact same choice her father did, her cowardly father, because she too would die in dishonour if it offered even the slightest chance to save her loved ones. When Eivor, who has spent her life trying to justify her existence by being useful, finally accepts that her parents died because they loved her and not because she didn't do enough. When Eivor is holding the very same axe now that her father held then and the High One himself is offering her wisdom and glory and power and she, like her father before her, drops her axe and turns her back and chooses love instead.

That is the version of Eivor I will remember. Not the hastily cobbled together ghost of her that we saw in The Last Chapter.