#demarcation point

[bigskydreaming]

Imagine if you were a gay or bi man who tried a certain firefighter show because of all the attention it was getting for one of its mains having a later in life bi awakening.....and between seasons you ventured into its fandom in search of material to tide you over til the next one. And you're greeted by a deluge of posts and fics that are just cheerfully homophobic towards one half of the newly out bi character's canon relationship on the basis of 'well he's not the RIGHT gay guy' and pushing the idea that actually its fine to cheat on him because Reasons and he's sexually predacious based on......behind the scenes implications people have divined like they're reading fucking tea leaves.

But don't get it twisted....this fandom, like all fandoms, really cares about representation!

Sorry not sorry, but we really need to kill this idea that fandoms are welcoming and inviting and inherently progressive when they're frequently insular and reductive as fuck. Every single fandom I've been in has had major trends of people doubling down on their own headcanons and fanon interpretations of the characters and willfully enacting trends aimed at running off people who like the 'wrong' characters (usually characters marginalized along one or multiple axes), like the characters in the 'wrong ways' or other bullshit.

Scott is a Bad Friend fics overtaking Teen Wolf fandom was not incidental, it was a FEATURE of the fandom, because the vast majority of that fandom did not want to share its space with anyone who had the nerve to like its main character. Survivors complaining about or criticizing the prevalance of rape fics in a certain fandom has in my experience always led to a reactionary UPTICK in those fics, with gems like 'this character can, will, must be raped' in the tags making it crystal clear that some of these fics exist because how fucking DARE anyone try and push forth a narrative not agreed upon by Fandom Main.

I could cite examples for so many other fandoms, with the commonalities always being that vast majorities in these fandoms are explicitly reacting defensively to being asked to be more mindful of fandom trends revolving around or exacerbating racism, homophobia, transphobia, rape or abuse apologia, ableism, etc....

With the most prolific fucking rallying cry across countless fandoms being "No the fuck we will NOT be doing that," because lolololol.....

Fandom is an inherently progressive space, didn't you hear?

[goatsandgangsters]

I think it'd be nice for my mental health if we didn't have a regularly scheduled Cataclysmic Collective Event every couple of years

[chiropteracupola]

regular achievable plans (what if we learned a language simply because we wanted to get better at cataloguing different versions of johnny has gone for a soldier/siúil a rún...)

[isaacathom]

i love playing with names so much. any story or setting where theres a deliberate use of names and differing terms of address and you can really read into a characters choices and it says so much is the Good Fucking Shit

[felassan]

Dragon Age: The Veilguard info compilation Post 1

Post is under a cut due to length.

There is a lot of information coming out right now about DA:TV from many different sources. This post is just an effort to compile as much as I can in one place, in case that helps anyone. Sources for where the information came from have been included. Where I am linking to a social media user's post, the person is either a dev, a Dragon Age community council member or other person who has had a sneak peek at and played the game. nb, this post is more of a 'info that came out in snippets from articles and social media posts' collection rather than a 'regurgitating the information on the official website or writing out what happened in the trailer/gameplay reveal' post. The post is broken down into headings on various topics. A few points are repeated under multiple headings where relevant. Where I am speculating without a source, I have clearly demarcated this. if you notice any mistakes in this post, please tell me.

as this post hit a kind of character limit, there will probably be at least 1 more post. :)

Character Creation

CC is vast [source] and immensely detailed [source]

We will enter CC straight after Varric's opening narration [source]

You are given 5 categories to work your way through in CC: Lineage, Appearance, Class, Faction, Playstyle. Each of these has a range of subcategories within them. There are 8 subcategories within the "head" subcategory" in "Appearance" alone [source]

Lineage dictates things like race (i.e. human, elf, dwarf, qunari) and backstory [source]

Backstories include things like factions. Factions offer 3 distinct buffs each [source]

There are dozens and dozens of hairstyles [source]

There are separate options for binary and non-binary pronouns and gender [source]

"BioWare's work behind the scenes, meanwhile, goes as deep as not only skin tones but skin undertones, melanin levels, and the way skin reacts differently to light" [source]

CC has a range of lighting options within it so that you can check how the character looks in them [source]

There are a range of full-body customization options such as a triangular slider between body types and individual settings down to everything from shoulder width to glute volume [source]. There are "all the sliders [we] could possibly want". The body morpher option allows us to choose different body sizes [source]

All body options are non-gendered [source]

They/them pronouns are an option [source]

Rook can be played as non-binary [source]

Individual strands of hair were rendered separately and react remarkably to in-game physics [source]

Special, focused attention was paid to ensuring that hairstyles "come across as well-representative, that everyone can see hairstyles that feel authentic to them, even the way they render" [source]

The game uses strand hair technology borrowed in part from the EA Sports games. The hair is "fully-controlled by physics," so it "looks even better in motion than it does here in a standstill" [source]

The ability to import our choices from previous games is fully integrated into CC. This will take the form of tarot cards - "you can go into your past adventures" and this mechanic tells you what the context was and what decision you want to make [source]

In CC we will also be able to customize/remake our Inquisitor [source]

A core tenet of the game is "be who you want to be" [source]

There are presets for all 4 of the game's races (human, elf, dwarf, qunari), in case detailed CCs overwhelm you [source]

Story

The story is set 9 years since Inquisition [source]

The Inquisitor will appear [source]

Other characters refer to the PC as Rook [source]. This article says they are "the Rook" [source]

The ability to import our choices from previous games is fully integrated into CC. This will take the form of tarot cards - "you can go into your past adventures" and this mechanic tells you what the context was and what decision you want to make [source]

The prologue is quite lengthy. A narrated intro from Varric lays the groundwork with some lore and explains about Solas [source]. In this Varric-narrated opening section, the dwarf recaps the events of previous games and explains the motivations of Solas [source] (Fel note/speculation: this sounds like this cinematic that we saw on DA Day 2023)

What happens first off is that Rook, who is working with Varric, is interrogating a bartender about the whereabouts of a contact in Minrathous who can help them stop Solas. The bartender does not play nice and we are presented with our first choice: talk the bartender down or intimidate them aggressively [source]

The first hour of the game is "a luxurious nighttime romp through a crumbling city under a mix of twinkling starlight and lavish midnight blue" (Minrathous) [source]. The game begins with a tavern brawl (depending on dialogue options) and a stroll through Minrathous in search of Neve Gallus, who has a lead on Solas [source]. Minrathous then comes under attack [source] by demons [source] (Fel note/speculation: it sounds like the demo the press played is what we saw in the Gameplay Reveal). Off in the distance is a vibrant, colorful storm where Solas is performing his ritual. [source] Eventually we come upon Harding. [source] and Neve. Rook and co enter a crumbling castle, where ancient elf secrets pop up, "seemingly just for the lore nerds". [source] Then we teleport to Arlathan Forest, have a mini boss fight with a Pride Demon, and there is the climactic confrontation with Solas. After a closing sequence, at this point it is the end of the game's opening mission. [source] (Fel note/speculation: So the Gameplay Reveal showed the game's opening mission)

The action in the story's opening parts starts off quite quick from the sounds of things: the devs wanted to get the player right in to the story. because, “Especially with an RPG where they can be quite lore-heavy, a lot of exposition at the front and remembering proper nouns, it can be very overwhelming.” [source]

BioWare wanted to make the beginning of Dragon Age: The Veilguard feel like the finale of one of their other games [source]

Rook's Faction will be referenced in dialogue [source]

Minrathous is beautiful, with giant statues, floating palaces, orange lantern glow and magical runes which glow green neon. These act "like electricity" as occasional signs above pubs and stores [source]

The story has a lot of darkness tonally. These dark parts of the game contain the biggest spoilers [source]. However, the team really wanted to build in contrast between the dark and light moments in the game, as if everything is dark, nothing really feels dark [source]

Our hub (like the Normandy in ME or Skyhold in DA:I) is a place called The Lighthouse [source] (Fel note/speculation: I guess this screenshot shows the crew in The Lighthouse? ^^)

Each companion has a very complex backstory, their own problems, and deep motivations. These play out through well-fleshed out character arcs and missions that are unique to them but which are ultimately tied into the larger story [source]

We will make consequential decisions for each character, sometimes affecting who they are in heart-wrenching ways and other times joyously [source]

Decisions from previous DA games will be able to be carried over, it will just work a bit differently this time [source]. The game will not read our previous saves. For stuff pertaining to previous games/choices, players will not have to link their accounts [source]

Characters, companions, romance

Varric is a major character [source]

Every companion is romanceable [source]

BioWare tried to make each character's friendship just as meaningful, regardless of romance [source]

If you don't romance a character, they may end up romancing each other [source]

There will be some great cameos [source]. Some previous characters are woven into the game [source]

Companion sidequests/optional content relating to companions is highly curated when it involves their motivations and experiences [source]

We could permanently lose some companions depending on our choices [source]

Our choices can influence if characters get injured and what they think about us [source]

The bonds Rook forges with companions determine how party members grow and what abilities become available [source]

Each companion has a very complex backstory, their own problems, and deep motivations. These play out through well-fleshed out character arcs and missions that are unique to them but which are ultimately tied into the larger story [source]

We will make consequential decisions for each character, sometimes affecting who they are in heart-wrenching ways and other times joyously [source]

Gameplay, presentation, performance etc

Each class (warrior, rogue, mage) has 3 specializations. The ones for Rogue are duelist, saboteur and Veil ranger [source]. (Fel note/speculation: Veil ranger reminds me of Bellara. Maybe this is her 'spec' too?)

Duelist gameplay involves a sharp combination of dashes, parries, leaps, rapid slashes and combos [source]

Faction-related buffs include being able to hold an extra potion or do extra damage against certain enemies [source]

Individual strands of hair were rendered separately and react remarkably to in-game physics [source]

Playstyle settings include custom, distinct difficulty settings for options as granular as parry windows, meaning "players who might fancy that playstyle but typically struggle with the finer points of combat can give it a go" [source]

Combat mechanics is a mix of real-time action and pause and play. Pausing brings up a radial menu split into 3 sections: companions to the left and right, Rook's skills at the bottom, and a targeting system at the top which helps get in focus on certain enemies. [source]. In the pause system you can queue up your whole party's attacks [source]

Tapping or holding the shoulder button pauses the game, allowing us to stop the action and issue orders to companions [source]

There is a system of specific enemy resistances and weaknesses [source]. Weaknesses and resistances plays a big role in combat and abilities are designed to exploit these accordingly [source]. An example is that "one character might be able to plant a weakening debuff on an enemy, and another enemy might be able to detonate them" [source]

There is a vast skill tree of unlockable options [source]

You can set up specific companions with certain kits, e.g. to tackle specific enemy types, to being more of a support, or as flexible all-rounders [source]

Healing magic returns [source]

Abilities can change together with elaborate results, e.g. one companion using a gravity well attack that sucked enemies together, another using a slowing move to keep them in place, and Rook using a big AOE to catch them all at once [source]

A shortcut system lets you map a few abilities to a smaller pinned menu at the bottom of the screen [source]

There are class-specific resource systems. For example, Rogue has "momentum", which builds up as Rook lands consecutive hits [source]

Each class will always have a ranged option [source]

Rogue Rook can do a sort of 'hip fire' option with a bow, letting you pop off arrows from the waist [source]

Warriors can throw their shield at enemies, and can build an entire playstyle around that using the skill tree [source]

There is light platforming gameplay [source]

The game runs on the latest iteration of the Frostbite engine [source]

The game targets 60 fps

On consoles it will feature performance and quality modes so we can choose our preferred visual fidelity [source]

The game is mission based [source]. Some levels that we go to do open up, some with more exploration than others. "Alternate branching paths, mysteries, secrets, optional content you're going to find and solve." [source]

Everything is hand-touched, hand-crafted and highly curated [source]

Some sidequests and optional content is highly curated, especially when it involves the motivations and experiences of the companions. In others we may be investigating for example a missing family, with an entire open bog environment to search for clues and a way to solve the disappearance [source]

Gameplay, presentation, performance etc continued, after the above bullet list hit a character limit

There is sophisticated animation cancelling and branching. Gameplay is action-like, and the design centers around dodging, countering, and using risk-reward charge attacks designed to break enemy armor layers [source]

The dialogue wheel returns [source]. It gives truncated summaries of the dialogue options rather than the full line that the character is going to say [source]

The bonds Rook forges with companions determine how party members grow and what abilities become available [source]

For stuff pertaining to previous games/choices, players will not have to link their accounts [source]

We can play the game fully offline [source]

There are no microtransactions [source]

The game itself is not as cell-shaded in look as the first trailer looked [source]

[☕ found this post or blog interesting or useful? my ko-fi is here if you feel inclined. thank you 🙏]

[copperbadge]

This morning, as I was reading the news, I thought I should probably find some non-Tumblr coverage of the no-fly list leak, which I hadn’t had time to read up on yet. I was elbows-deep in actual news coverage of that story when I felt my brain grind to a halt, because I discovered that the data was found on an unsecured server in a CSV file. 

I think it says something profound and not entirely flattering about me that I then thought, Everyone’s yelling about the polyamorous bisexual lesbian catgirl and nobody’s talking about the fact that the leak came from a motherfucking CSV file?

For context, a CSV file is the most basic possible way to store large datasets, where each data point is simply demarcated by a comma. You really only ever see it when trying to import/export to/from a database because otherwise it’s a fucking pain in the ass to use. Even if this was simply an export file from a secure database, the fact that it was the most widely accessible form of file, not even an Excel spreadsheet but like the himbo version of an Excel spreadsheet, is astonishingly bad data practice when handling that level of sensitive information. 

A CSV! I thought to myself. Who cares what a bisexual lesbian is, it was in a CSV!  

I’ve....I’ve maybe been working with databases and Excel for too long. 

[rememberwren]

A Dichotomy of Thought || 5

Part One | Part Two | Part Three | Part Four | Part Five | Part Six | Further Parts

Johnny recovers slowly.

-

Fifteen minutes? Simon messages you. A flare going up in the darkness, an SOS signal even if you don’t know the accuracy of the analogy. But he doesn’t hear back from you that day.  Maybe what little luck he had left that wasn’t bad luck has run out. Maybe you realized that you had no real reason to be guilty, that Soap had stepped out in front of your car on purpose. You didn’t owe them anything. 

Simon wishes he could swallow that flare back up, eat it whole, let it burn him alive, but he can’t. Johnny needs him. 

Ever since the seizure, it’s been one bad pain day after another. The seizure itself was rough on his body, but so was how hard Soap fought afterwards, dealing himself damage that he didn’t even have the processing yet to tally up. 

Like clockwork he’s requiring those little green pills, choking them down on empty stomachs. Simon even has to break out what’s left of the sublingual morphine which they hadn’t used since Johnny first came home from inpatient rehabilitation. Only then will Johnny manage to fall into fitful sleeps wracked with nightmares and phantom pains from his missing arm. He cancels all therapy that week, hoping Johnny will return to his baseline soon. Hoping for the days he used to wish away. 

It’s hell on earth. Simon lays in bed beside him, ready to wake him from another nightmare, going on three days without sleep and he wishes that he had been the one in the helicopter instead. Wishes that it had killed him, since he can’t ever wish death on Johnny. Not ever. Not even when his boy begs for it. 

His phone buzzes, and it’s you: I’m free in twenty. Still need me?

Badly. Simon can’t remember the last time he showered. All he wants is fifteen minutes to scrub himself clean and feel human again. All he says though is: Yeah.

You appear just past twenty minutes later wearing a diner uniform. It’s cute: tight pants that hug your thighs and hips, a white button-down blouse tucked in, demarcation where your name tag used to rest.

Simon opens the door and ushers you in, somber-faced, like a pallbearer at a funeral. He goes to the bedroom door and glances in to make sure Johnny is out—there should be no waking him for the next two hours, but if there is one thing Simon has learned, it’s that God Laughs. 

“He asleep?” you whisper, lingering a healthy distance away. 

“Out like a light. I just need fifteen minutes in the shower.”

“I’ll watch him,” you whisper. Then you add: “I looked it up, by the way. What a seizure looks like. Just in case.”

Simon’s stomach drops between his knees. It takes him several heartbeats to realize that he isn’t nauseous out of any fear response, but out of sheer fucking gratitude. The feeling cuts through the fog in his mind like a knife through butter, and he feels like he sees you for the first time: your hair back away from your face, your healing bruises (and the new one on your chin), the embarrassed desperation in your eyes. You’ve latched on to Johnny too, he can tell, likely by some misguided guilt from almost hitting him with your car. But it’s there. He has a feeling that if Johnny were to take a dive off the balcony, he’d be taking you with him. 

You are completely unhinged. Borderline mad, even. Exactly what Johnny needs to keep him alive. 

“Fifteen minutes,” says Simon again before slipping into the bathroom, clean clothes tucked under his arm. When he resurfaces, only 11 minutes have passed. The military taught him everything he could need to know about thorough but expeditious showers. 

You are sitting at the dining table, having chosen the seat that gives you the best vantage point of Johnny’s sleeping figure in the next room through the doorway. Simon expected to find you on your phone, scrolling away, but it is nowhere in sight. You have sat perfectly still, watching Johnny. It would almost be eerie if he didn’t appreciate it so goddamn much. 

“We need to talk about this arrangement,” you say, clasping your hands together. You’re shaking. 

“You want out.” 

“What? No!” You both glance toward the bedroom, but Johnny snores on, in the throes of morphine-fueled dreams. When you speak again, it is quieter: “I don’t mind helping, but I can only check my phone at certain times of the day.”

This is the part where Simon asks why. But the question sticks to the back of his tongue like something unsavory. A more important question: can he afford to care why beyond what it means for him and for Johnny? The bottom line is that there will be long stretches of time where you’re unavailable. He can live with that. He’s been living with it, hasn’t he? 

“I’ll only ever need you when he’s asleep. If he knew I was letting you watch over him, he’d blow his top. I mean that literally.” Simon stands. “You want tea?”

“Tea?” You blink at him like the word does not compute. “Yes, please. Thank you, I mean.” 

“Just tea, don’t get worked up over it,” he mutters, going to put the kettle on. He needs a minute to fucking think. 

This goes against everything he was ever taught. The foundation of his personality is self-reliance, and it has been since he was a boy, since he learned that he couldn’t rely on adults for anything resembling stability. Asking for help feels like tossing up the white flag, like admitting he’s in too deep and he can’t take it anymore. It feels like failing Johnny. 

But there’s construction going on inside him. Those pillars of his personality are being torn down, and in their place something more important is being formed: a shrine to the only person who’s ever loved him that wasn’t his mother. If it’s good for Johnny, Simon must do it, even if it feels strange, even if it goes against all the strategies that have kept him alive in the past. 

When he brings tea back to the table, you try to drink it right away, scalding your tongue. 

“Slow,” Simon says. He didn’t even get the chance to offer you any milk or sugar. 

Face warm as the tea, you drink slower, tongue likely numb. The silence between you grows, adds up, and he catches you more than once looking toward the digital clock inlaid on the stove, like you are nervous and counting down the moments until you can escape. Like Simon frightens you. Fifteen minutes pass and more. You drain your cup. 

“I should go,” you say at length.

“Alright.”

“Thank you for the tea.” 

“Don’t thank me.”

You just nod and slip out of the apartment, quietly shutting the door behind you. Simon sits there for a long time after you’re gone, thinking over the arrangement. Thinking over you. 

You’re in trouble. He just can’t decide if he can afford to take on any more trouble right now. 

His tea has cooled by the time Johnny stirs in the other room, calling out for more pills. 

-

It does get easier. Tooth and nail they fight for every peaceful moment until they are able to string two of those moments together, and then two becomes three. Johnny is back to his old self—often angry, still pained, but with glimmers of the man Simon used to know shining beneath it all like diamonds under dirt. 

Therapy starts again, and so do Johnny’s tasks. 

The tasks aren’t therapy. They’re Johnny’s idea: each few days he picks a task that he used to be able to do before the accident and commits himself to relearning it. 

Today that tasks is unlocking the front door. He stands with his forehead against the oak, knowing Simon is somewhere on the other side, having heard him turn the deadbolt. 

The door has three locks. There is the handle which is the only one the apartment building originally supplied them with. There is the sliding lock, which Simon had installed on day two in the new apartment. It is only ever locked at night when both of them are home, and it is easy enough for Johnny to guide the wide end into the slot. Then there is the deadbolt, also installed by Simon, and easily the trickiest lock of all. Usually it requires the strength of two hands to unlock comfortably��but Soap’s down a hand and short on patience. 

“Jesus, get me in this apartment. Amen,” he mutters.

The key shakes in his hand as he guides it to the lock. It takes some fumbling, but he gets it after just a few moments. Then he must twist while pulling outward at the same time. It uses muscles in his arms that have grown weak with disuse. The key catches for a moment but then slides out of the lock uselessly. He pulled too hard; he did not twist hard enough. 

It’s a delicate balance, one he had perfected without even trying months ago when they moved in. Now it seems like a cruel and unusual punishment. If he can’t get this fucking door open, he’ll sleep out here, undeserving of his own bed. In his mind, the voice of encouragement does not sound so much like the calm soothing tones of Andy—his physical rehabilitation therapist—but instead the borderline abusive dialect of his superiors during his time in the military, the ones who had only ever cared about results and not much about the bodies getting those results. 

Footsteps come from the open elevator, and Johnny casts an irritated glance only to see that it is you. You are dressed for exercise, clingy clothes with running shoes and a baggy top thrown on over everything, drooping off of one of your shoulders. At the sight of you, Johnny remembers the lengths you went to to help him light his cigarette and his heart throbs with fondness, some of his anger evaporating like fog burnt off by the morning sun. 

“Afternoon, lass.” 

“Hi, Johnny,” you murmur, voice near a whisper as you cast a glance toward your own door. Maybe you are thinking about running from him. “Are you having trouble?” 

Johnny’s good mood dissipates. “No,” he lies. “Yes. I don’t fucking know.” 

“Can I help?”

“No,” he snaps. “I have to do this myself.”

“Where’s Simon?” 

“Inside.” 

“He’s locked you out?”

“Aye.” 

Your face changes. He knows you so little that it takes a moment for him to identify the expression for what it is: apoplectic rage. Your hands have clenched into fists at your sides, brows drawn low over your eyes as you glare a hole through the door. You reach out and take Johnny’s hand. He’s so fucking surprised that he drops the damn key. 

“Johnny,” you say. “You can tell me. Are you in trouble?”

“What sort o’ trouble?” 

“Simon. Is he good to you?” 

“Bastard eats my cereal and leaves the empty box behind, but aye, he’s good to me. Better than good. What’s all this about, hen? Simon locking me out? I only asked him to, that’s all—let’s me practice with the key, so I can open it on my own again,” says Johnny, stroking his thumb along your knuckles. 

You let go of him like you’ve been burned, face mortified. “Oh, God. I’m sorry Johnny. I misunderstood. Let me just—”

You bend down and retrieve the key, handing it to him. You can barely look him in the eye as you mumble a goodbye and rush past him into your own apartment, shutting the door solidly behind you. 

Johnny stares after you for a long moment, key held limply in his hand, mind far from the door. At last, he puts the key back into the lock. 

Twist, pull. 

[opencommunion]

one reason (white) queer people misuse the term homonationalism is that they see queerness (or whatever you want to call it) as naturally disaffiliated with the US empire. so they understand homonationalism as a divergence from a natural mutual antagonism between queerness and empire. they talk about homonationalism as if it's an exclusively "normie gay" project, and as if it's a divergence from, rather than a consequence of, the overall trajectory of western lgbtqia+ politics. ironically it’s that self-exceptionalization by the queer, on the basis of their queerness, that imbricates them in homonationalism. they produce themselves as a homonationalist subject, and reproduce homonationalism, every time they articulate their queerness as individualized freedom. and Puar actually anticipates all of this in her original theorization of homonationalism in Terrorist Assemblages, and that's why it really helps to go to the text instead of osmosing queer theory solely through tumblr posts (esp when tumblr is so white and the queer theorists are not): "Some may strenuously object to the suggestion that queer identities, like their 'less radical' counterparts, homosexual, gay, and lesbian identities, are also implicated in ascendant white American nationalist formations, preferring to see queerness as singularly transgressive of identity norms. This focus on transgression, however, is precisely the term by which queerness narrates its own sexual exceptionalism.

While we can point to the obvious problems with the emancipatory, missionary pulses of certain (U.S., western) feminisms and of gay and lesbian liberation, queerness has its own exceptionalist desires: exceptionalism is a founding impulse, indeed the very core of a queerness that claims itself as an anti-, trans-, or unidentity. The paradigm of gay liberation and emancipation has produced all sorts of troubling narratives: about the greater homophobia of immigrant communities and communities of color, about the stricter family values and mores in these communities, about a certain prerequisite migration from home, about coming-out teleologies. We have less understanding of queerness as a biopolitical project, one that both parallels and intersects with that of multiculturalism, the ascendancy of whiteness, and may collude with or collapse into liberationist paradigms. While liberal underpinnings serve to constantly recenter the normative gay or lesbian subject as exclusively liberatory, these same tendencies labor to insistently recenter the normative queer subject as an exclusively transgressive one. Queerness here is the modality through which 'freedom from norms' becomes a regulatory queer ideal that demarcates the ideal queer. ... I am thinking of queerness as exceptional in a way that is wedded to individualism and the rational, liberal humanist subject, what [Sara] Ahmed denotes as 'attachments' and what I would qualify as deep psychic registers of investment that we often cannot account for and are sometimes best seen by others rather than ourselves. 'Freedom from norms' resonates with liberal humanism’s authorization of the fully self-possessed speaking subject, untethered by hegemony or false consciousness, enabled by the life/stylization offerings of capitalism, rationally choosing modern individualism over the ensnaring bonds of family. In this problematic definition of queerness, individual agency is legible only as resistance to norms rather than complicity with them, thus equating resistance and agency.

... Queerness as automatically and inherently transgressive enacts specific forms of disciplining and control, erecting celebratory queer liberal subjects folded into life (queerness as subject) against the sexually pathological and deviant populations targeted for death (queerness as population). Within that orientation of regulatory transgression, queer operates as an alibi for complicity with all sorts of other identity norms, such as nation, race, class, and gender, unwittingly lured onto the ascent toward whiteness. ... To be excused from a critique of one’s own power manipulations is the appeal of white liberalism, the underpinnings of the ascendancy of whiteness, which is not a conservative, racist formation bent on extermination, but rather an insidious liberal one proffering an innocuous inclusion into life."

Jasbir K. Puar, Terrorist Assemblages: Homonationalism in Queer Times (2007)

[temptingfatetakingnames]

Open mic night was Eddie’s favourite night of the week. It wasn’t often that the group was able to make the drive up to Indy but everyone was finally available this time. Gareth, Jeff and Grant were going in his van. Steve was taking Robin, Argyle, Jonathan and Nancy. Steve hadn’t seemed too interested when Eddie had invited them but he owed Robin something and she forced him into being their designated driver for the evening’s festivities. It would be the first time the groups would be mixing and Eddie was incredibly anxious about it.

He loved Gareth, Jeff and Grant but they had no filters whatsoever and even though Steve might not be a douchebag anymore, he had still been King Steve and that didn’t just go away because they had fought interdimensional demons together. He also couldn’t explain to the guys the real reason he was hanging out with Steve without mentioning said interdimensional demons. So. Eddie was anxious. But it was open mic night and he was going to hope for the best. He fucking loved open mic night.

“Tell me again how you became friends with Harrington?” Grant asked from the back seat.

Eddie couldn’t help but sigh, he had explained (lied) to them all multiple times but they could sense that something was missing from the story.

“I told you! Henderson introduced us. You know how he always went on and on about him, had to see for myself.”

“And you hit it off? Just like that?” Jeff asked.

Eddie shrugged. That was the story and he was sticking to it.

“But why did you have to invite him to open mic night?” Gareth whined.

“Chill out. We’re going to have a good time,” Eddie said as he reached for the radio dial. He turned the music up louder, ending the Q and A portion of the ride.

When they pulled up at the bar, he saw that Steve and the rest of the gang were already there and waiting outside. He parked the van and went to meet them. Steve was standing a bit off to the side, arms crossed over his chest, scowling at Robin. He looked good. A simple black t-shirt showed off his arms and tight acid washed jeans showed off his ass. Eddie assumed Robin had helped him pick the outfit, he had never seen Steve wear black before. Nancy and Johnathan were holding hands and leaning into each other’s space and Argyle was finishing off the last few tokes of his joint.

Robin spotted him and the guys and waved them over.

“Hey, Eddie!” she said with a bright smile lighting up her face.

Eddie tucked one hand into his front pocket and used the other to wave back. “Hey guys, this is Grant, Jeff, and Gareth,” he said pointing at each of them in turn. “This is Robin, Nancy, Johnathan, Argyle and Steve.”

Introducing them all to each other might have seemed a little silly – they did all go to high school together. Well, except for Argyle – but it felt right, too. Eddie wanted them to get along and making introductions felt like a new start. They all nodded at each other, somewhat warily before moving to the door. They didn’t intermingle – group lines still clearly demarcated and Eddie sighed.

Wayne was good friends with the owner of the bar, so he let Eddie and his friends drink a bit. Usually just a pitcher or two of his cheapest beer, which was completely fine with him. Beer was beer as far as he was concerned and he wasn’t going to complain when he was getting it for free while he was still underaged. The place wasn’t too full yet, he liked to arrive a little early so he could get a spot near the front of the stage. He got everyone settled at the table and then dragged Jeff off to the bar to help him with the drinks.

“Hey there, my main man Moe,” Eddie sing-songed as he approached the man behind the counter. He was Wayne’s age with wrinkles around his eyes and grey in his hair. He and Wayne went way back, the best of friends even though they were complete opposites. Where Wayne could be quiet and standoffish, Moe was charismatic and brash – they balanced each other.

“Eddie!” Moe called back and smiled widely at him. “Good to see ya, how’s Wayne?”

“Wayne’s great! He says hello.”

“How many glasses?” Moe asked as he started to fill up a pitcher of beer. “You brought a big group this time.”

“Oh, uh – nine!... Please.”

Moe set the pitcher on the counter before turning to grab and stack a bunch of cups. Jeff picked up the cups and Eddie took the pitcher.

“Thanks, Moe.”

Moe waved him off, still smiling.

He and Jeff made their way back to the table. Eddie was pleased to see that the two groups were intermingling a bit when he got back. Robin was chatting with Grant and Gareth, which made sense – they probably had the most in common. Johnathan and Nancy were sitting side by side, listening. Argyle was currently a space cadet, staring at the popcorned ceiling like it was the night sky. And Steve – well Steve had his arms across his chest and was leaning back like he wished he was anywhere else. Whatever, he could be a grumpy goose all he wanted. Eddie placed the pitcher in the center and Jeff started handing out the cups.

“So, what’s the King been up to since graduating?” Gareth asked and then took a sip of beer. Eddie rolled his eyes. The question was innocent enough but the way Gareth asked it made it sound like he already knew the answer and it couldn’t be anything good.

“Family Video re-opened, so me and Robs have been working,” he said and shrugged, taking the question and the way it was asked in a surprisingly good stride.

“That’s it? Working at Family Video?” Grant chimed in with a smirk.

Everyone could read between the lines of what Grant and Gareth were saying – the great Steve ‘The Hair’ Harrington, King of Hawkins High graduated but going nowhere – Working a menial service industry job that he probably hated. Eddie didn’t know if Steve had any other plans. He knew Robin and Nancy were all set to go off to college once they graduated but he and Steve had never really talked about their life goals. Maybe he was happy with an easy job and no stress. There were worse things, he supposed. But he also couldn’t imagine getting stuck in fucking Hawkins.

“Yup,” Steve replied. “That’s it.”

“That is not it, Steve!” Robin said from across the table. “Why don’t you tell them –” Her words were cut off when Moe walked onto the stage and announced that open mic night had officially begun.

A cheer went around the room and usually Eddie would be the first one to go up to the mic but he wanted Robin to finish her sentence. It was clear she wasn’t going to when the cheers finally quieted and a man from the back of the room approached the stage. Eddie listened but he found himself distracted; he hated mysteries. Puzzles needed to be solved or else he felt them like an itch in the back of his mind. He would need to bring the conversation back around to Steve later so he could find out what else the man had going on.

When the first performance ended to polite claps, Eddie jumped up to go next. He loved putting on a show. Moe always had an acoustic and electric guitar on the stage for anyone who wanted to use them. Eddie grabbed the electric guitar and strummed a few chords, testing it out before he went up to the microphone. He usually stuck to more rock and roll songs for open mic night over the heavier stuff he performed with Corroded Coffin. It was nice to be able to do both and he loved it when the crowd sang along with him. He finished his slowed down version of For Whom the Bells Tolls with an exaggerated bow.

A few regulars he knew went up after him. Jeff did a great acoustic version of Number of the Beast which Eddie had not expected to work at all. Robin and Nancy did a Blondie’s song together that wasn’t half bad. They had nice voices, and Robin at least managed to stay on key. Blondie was no joke.

They were on their third pitcher, the mood at the table loosened as they talked and sang and drank. Eddie and Steve only had one beer each before switching to sodas – a stipulation of Moes that anyone he brought to drink had a safe drive home. Eddie had never bent this rule, he appreciated Moe giving them a space to come and drink and he wouldn’t get him in trouble by driving drunk.

“Steve! Your turn!” Nancy yelled.

Steve shook his head. “I’m not getting up there. I’m only here because Robin made me come.”

Jeff and Gareth shared a look between them, rolling their eyes.

“Afraid to sing in front of us, Harrington?” Eddie asked. He knew that Steve wasn’t afraid of anything. His dumb bravery would put the strongest barbarian to shame but sometimes heckling worked and Eddie really wanted to hear him sing.

Steve just leaned back calmly. “Not gunna work on me, Munson.”

“Steve,” Robin whined and stretched out his name, “you have to sing.”

“Nope,” Steve responded.

Robin leaned over so she was practically in his lap and squeezed his cheeks together.

“You have to sing, Steve,” she said with the utmost seriousness.

Something passed between them because Steve’s eyes got large and frightened and Robin snickered. She had something on him! Something he didn’t want her to tell them and she was threatening him with it. Good job, Robin!

Steve sighed deeply before heading up the stage as the crowd hooted and hollered.

Robin leaned back in her chair with a satisfied smirk on her face.

“He’s probably going to sing Tears for Fears or Abba or something,” Eddie said to the group.

“My money is on Madonna,” Nancy chimed in.

Robin snorted. “Duran Duran!”

They all laughed.

Steve grabbed the microphone and took a deep breath, looking out into the crowd. His first note echoed in the room and the talking and laughter ceased immediately, all eyes turned and focused on the stage.

I get up in the evenin’ And I ain’t got nothing to say Come home in the mornin’ I go to bed feelin’ the same way I ain’t nothin’ but tired Man, I’m just tired and bored with myself     Hey there, baby, I could use just a little help

Not a sound could be heard from anyone in the room as they all listened in rapt silence. Steve’s voice was ethereal, perfectly pitched, beautiful. Eddie had never heard anything like it.

You can't start a fire You can't start a fire without a spark This gun's for hire Even if we're just dancin' in the dark

The thing was, Eddie liked Steve. He was a better person and friend than he could have ever expected of the former king. But he was a surface level person, what you saw was what you got. He could be sassy and mean and didn’t seem to dive too deeply into his own feelings. Steve was simple and he liked simple things. He was Steve ‘The Hair’ Harrington for Christ sakes, he could not have the deep well of emotion and pain that he was conveying in this song.

But he did.

And he was.

Eddie turned to Robin and hissed in her ear as quietly as he could, “did you know about this?”

But she was looking at Steve just as dumbstruck as the rest of them and slowly shook her head.

You sit around gettin' older There's a joke here somewhere and it's on me I'll shake this world off my shoulders Come on, baby, the laugh's on me

Steve was baring his goddamn soul. And maybe Eddie had still been judging him too harshly on who he used to be – because they had fought a fucking war together. But it had always seemed to just…glide off Steve. They must have missed it – the darkness and loneliness in his eyes that Eddie was seeing now. They were all seeing it now. Nancy and Robin were both staring at him like they had never seen him before. Eddie was ashamed. How often did he lament people for thinking they knew him? For judging him on his looks before they even tried to know him? And now he had done it, too. But this was worse because Steve was his friend… and he hadn’t seen it. He had seen a piece of the man and assumed it for the whole.

Stay on the streets of this town And they'll be carvin' you up alright They say you gotta stay hungry Hey baby, I'm just about starvin' tonight I'm dyin' for some action I'm sick of sittin' 'round here tryin' to write this book I need a love reaction Come on now, baby, gimme just one look

This blew all of his preconceived notions out of the water. Steve was singing like his goddamn heart was breaking and no one in the world understood him. It was a masterpiece and Eddie was floored. Absolutely floored. He had heard Dancing in the Dark a million times. But Steve… The way he sang it gave the words such a deeper meaning. It was beautiful and haunting and pained. It changed everything about the song… and everything he thought he knew about Steve Harrington.

You can't start a fire Worryin' about your little world fallin' apart This gun's for hire Even if we're just dancin' in the dark Even if we're just dancin' in the dark

He held the last note, beautifully pitched, before he let it go. The room was silent, everyone as awestruck as Eddie. After a pregnant pause everyone erupted into cheers and whistles and Steve dropped his head as a blush starting creeping over his cheekbones – his hair falling over his face. Adorable.

Oh. Oh no.

No. No. No.

He did not just think that.

Appreciative eyes followed Steve as he made his way back to their table and Eddie bristled. He wanted to growl and bare his teeth at them all.

“You have the voice of an angel, my dude,” Argyle said.

“Thanks man,” Steve said as he sat back down.

Robin immediately attacked him, shoving him and screaming, “what the hell was that?”

“You wanted me to sing! So, I sang!” he yelled back.

“I didn’t know you could sing, Steve! Why didn’t you tell me?”

Steve shrugged. “Never came up, I guess.”

“Never came up!? Neve came up?” Robin’s voice kept increasing in volume and incredulity. Eddie was right there with her. “I am betrayed! Betrayed, Steve!”

Steve rolled his eyes at her dramatics. “Calm down, Buckley. It was just a song.”

“It wasn’t just a song though, was it?” Nancy asked quietly.

Steve tensed up and ducked his head but not before Eddie saw something dark move through his eyes. He wanted to ask if Steve was okay, wanted to drag him somewhere quiet where he could talk to him and ask him questions and find out what was behind his eyes – what was behind that song. Eddie wanted to split his skull open and peer inside and learn everything there was to know about Steve Harrington. He couldn’t take his eyes off him, was begging desperately in his head for Steve to look up, to look at him, too.

Who are you, Steve Harrington?

Eddie’s mind itched at the unexpected puzzle.

Part 2

[revelboo]

can I just say how much I love! your!! writing!!! I wasn’t really a Starscream or Bluestreak fan before because I have a tunnel vision on Bumblebee but stumbling upon your account made me adore them so much!! I like how neat your writing style is even though you make it as bullet points because I’m usually not fond with bullet points style, however! Something about how you focus on the description and “show not tell” the most is sooo tasty idk how to describe it. Thank you for your wonderful writings 😔🙏💕

Thank you! The bullet points were mostly a way to clearly demarcate a view point shift since these are snippets rather than anything fully fleshed out. Normally, I’d only head hop every other chapter in a paranormal romance manuscript, but that wouldn’t work here.

Also: Pleasure to Meet You by Motion City Soundtrack is my theme for this fic

Everything is Alright pt 34

IDW Starscream x Reader

• Watching you walk over to your stash of human things on his desk, a little more tension eases. Everything right again, even though he’s fully aware of how fragile it is. That worry still there eating at him, a dark tide just waiting to crash down on him. But not at this moment. You offer him a little smile as you drape that old cleaning cloth he first gave you about your shoulders. Like a ghost, Soundwave’s disdainful ‘inadequate’ floats through his processor.

• Somehow going back with Starscream feels more like reality than going home to your actual life had. Like everything else was a dream, less real than this. Because this has become home. Well, not quite if you’re being honest. It’s not this place at all. It’s him and it’s a curious new feeling, fragile. Breathing in the scent of him from your blanket, something settles inside you and you look up as he runs a big hand over his helm, wings fidgeting. “After my rotation, we’ll refuel together,” he says, optics flicking to your dwindling supply of stolen junk food. It’s not a request to share a meal, but a certainty that you will do this. You smile anyway.

• “I’d like that.” You’re smiling at him, happy to be near him. Glad to see him and it almost hurts, a bittersweet ache that he’d almost given this away. Let you slip out of his hands. Reaching down, he runs the tip of a servo over your soft cheek, the touch lingering as you reach up to lay a hand on him. Such a small thing, but it means more than you can ever realize. It takes an effort of will to break that contact instead of curling his servos around you and bringing you to cradle against him.

• There’s an impulse to call out after him when he leaves, and your fingers fist in your blanket to keep yourself still. To not run to the edge of the desk and reach out. He’s not leaving you again. You know it, but that jangling uncertainty is still there. That he might leave and not return.

• You’re back. Soundwave hesitates, feeling that now familiar tangle of emotion at the back of his processor. When you’d just disappeared from his awareness, he’d assumed Starscream had accidentally killed you. It had always been a possibility with the Seeker’s temper. Thought that you were just gone and that loss has twisted about his spark, because as frustrating as the chaos of your mind is, he’s gotten to where it’s familiar. Always just there at the back of his processor, a warm presence he can’t shut out like music softly playing. He’s pushing up from his desk, aware of his cassettes looking up in surprise.

• When the door slides open, you stand up expecting Starscream, but it’s Soundwave. His helm turns, visor flaring slightly as he spots you and strides over. Head tipping back as he reaches a huge hand for you, almost not noticing the faint tremble as his servos curl around you and he lays his other palm on the desk, big frame bowing over you. Silent aside from the ragged sound of him venting. One of his servos slides against your neck over your pulse, but otherwise he’s still aside from that strange shivering. You lay your palms on his hand, staring at that unreadable, hidden face. Had he been worried about you? That fragile feeling you don’t dare examine too closely stirs as you wish you weren’t so very small so you could wrap your arms around him. Around them both, because they’re yours. And it’s worth fighting for.

Previous Next

[ilikefelines]

Sure is GRRM making a point in fire and blood that bastardphobia is bad? Yup. But he's also making a point about Rhaenyra's selfishness and greed. She knew that the Strong-Boys would be in danger from the moment they came out with brown hair but still continued. It's not just bastardphobia is bad. There are layers to this people.

And also miss me with that 'legally they were Velaryon's' nonsense. In GRRMs Planetos, he's gone to great pains to show that there is no demarcation between bloodlines and legality.

[queerfables]

Why all the crowd scenes look the same, aka: Something is WRONG in Soho

I'm not even gonna tease and draw this out because it's so cool it doesn't need the fanfare. Ready?

Season 2 takes place over the course of 5 days. During that time, most of the passersby in Soho - maybe even all of them - stay exactly the same. It's the same people every day, wearing the exact same clothes, and they wander through the neighbourhood in paths that don't make any sense. You won't be able to unsee it. I can't believe it's taken us this long to realise.

Don't believe me? Rewatch the scene from 2x03, I Know Where I'm Going where Shax confronts Crowley outside the bookshop, appearing in a series of different guises. Pay attention to the people going past.

I've marked out five people you see on screen when Crowley first exits the bookshop at 39:37:

Numbers 1, 2 and 3 are following the path right. Number 4 follows the path left. Number 5 crosses the road.

Here the five people are again, at 40:19, when Crowley goes to return to the bookshop:

Number 5 is still visible in the distance, in the direction she walked in. This makes sense! But numbers 1, 2, 3 and 4 are rounding the same corner they just passed. It's as though 1, 2 and 3 all decided to turn and head back the way they came just 40 seconds ago, and number 4 has circled the block to join them.

This on its own would be super weird, but they're not the only people to do that in this scene. The man in the purple sweater from the first picture crosses the road, then appears back next to the bookshop, then starts walking back the way he came again.

Here's the part that made me absolutely certain, though. At 40:05, a man wearing an orange hoodie with blue sleeves walks past Crowley, who is heading towards the bookshop entrance.

The camera cuts to a view from behind Crowley, and a moment later, at 40:08...

He reappears in front of Crowley and walks past him again.

It's such a distinctive outfit, there's no mistaking it. They are absolutely fucking with the background characters and they are absolutely doing it on purpose.

Your turn. There are at least three other characters in this scene who pass by multiple times. Watch it again and try to spot them.

This scene is really chaotic and obvious, but the phenomena I'm talking about is much bigger than just one scene. Let's go back to the first thing I said: the background characters don't change. All our leads do. Maggie and Nina wear distinctive outfits, clearly demarcating each new day. Even Crowley and Aziraphale, who in season 1 were like cartoon characters with wardrobes full of identical clothing, vary their looks. Crowley changes his (very subtly) each day; Aziraphale is less rigid on timing, but he has a few different coats that he switches between. The background characters, on the other hand, wear the same outfits every single day. They walk by on the street but they never actually seem to have a destination. They sit in the coffee shop or pub and don't eat or drink anything, and nearly everyone leaves together exactly on closing time. It's eerie.

For reference's sake, here's a rough timeline of season 2, with pictures of Maggie and Nina's outfits to show the passing of time. I had to outsource this section because my post was too image heavy, lol. The main point I wanted to make is that five days go by.

Five days, and all the same faces keep showing up in the background, and almost none of them change their clothes. I'm not entirely sure what it means, but there's no way it's an accident. It might, in fact, be a game changer. To me this is proof positive that something is not as it seems. I've been a massive Clue skeptic, adamant that I'd only be convinced by the most unambiguous evidence, and honestly? This is enough to move the dials. It's too big for me to ignore. Whatever grand explanation of Good Omens we come up with has to account for this. I don't have it yet, but my current working theories are that Crowley and Aziraphale are under some seriously heavy surveillance, that time warping is involved, or that reality itself is not what it seems.

It would take a really long time for me to go through all of the background characters who turn up over and over but I do want to show you what I'm talking about. To wrap up, then, I'm going to pick out some memorable characters and walk you through a few of their appearances through the week. I highly recommend looking out for this yourself on your next rewatch and seeing how many other characters you can recognise.

Yellow Skirt

The first person I kept coming back to as being not quite right. You probably remember her from the first episode - she's the one who waves and walks past Maggie and Nina the night they're locked in together. Incidentally, she's also Person Number 3 in the scene with Shax.

Day 1 (2x01 - 36:20):

Day 2 (2x02 - 42:03)

Day 3 (2x03 - 06:36)

Day 5 (2x06 - 30:00)

Coolest Leather Jacket In The World

It's not so easy to recognise people wearing lots of nondescript dark colours, but I love his hair and his jacket, so he stood out to me. I think there might be a lot more people who are wearing fairly nondescript clothes who I just can't recognise from episode to episode.

Day 2 (2x02 - 16:44)

Day 4 (2x04 - 41:20)

Day 5 (2x06 - 29:20)

Dressed In Mustard

Ms Mustard shows up everywhere. If you want to see what I mean about their paths not making sense, pay attention when she comes on screen, because she'll often show up a few times in succession and walk very purposefully to nowhere in particular. The thing that she is doing, essentially, is behaving like an extra in a tv show. Which of course she is, but you're supposed to make that invisible by not having the same person go back and forth in the same scene, or changing up their outfit each in-universe day to give the sense time is passing. Not doing that is a really deliberate choice.

Day 1 (2x01 - 22:37)

Day 2 (2x02 - 42:03)

Day 3 (2x03 - 01:49)

Day 3 (2x03 - 37:07)

Day 5 (2x06 - 29:59)

Swishy Dress

This character shows up a lot in the first episode. I've struggled to find her in later episodes, though. None of the characters seem to follow the same patterns or show up to equal extents each day, which makes me think this isn't a straightforward time loop. I haven't actually cross referenced character appearances to in world times, though. Possibly this is a project for someone who's more across the time-related shenanigans than me.

Day 1 (2x01 - 22:43)

Day 3 (2x03 - 07:01)

Yellow Vest

I've only seen this guy a handful of times, always around the French restaurant. I wonder if there's significance to that.

Day 2 (2x02 - 41:06)

Day 4 (2x05 - 12:49)

Fuzzy Blue Coat

Another background character who shows up frequently. The blue doesn't stand out quite as much as the yellows and reds some characters wear, but it's very distinctive.

While we're getting a lot of shots of the street, it's worth noting that I'm pretty sure the vehicles we see are also just the same few cars repeating each day. A lot of them are in neutral silvers and monochrome, but there's a couple of blue cars, one red, and one black and white that I'm fairly sure I've seen over and over through the season.

Day 1 (2x01 - 22:45)

Day 2 (2x02 - 42:04)

Day 3 (2x03 - 02:00)

Day 5 (2x06 - 40:10)

Day 5 (2x06 - 48:56)

Day 5 (2x06 - 50:06)

One final note: Whatever this is, Nina's employee who you see in the background at the coffeeshop sometimes isn't affected by it. He's wearing different outfits each day. On the other hand, some of the other shopkeepers do seem affected. I'm fairly sure Mr Brown and Mrs Sandwich wear the same outfits a few different days, only changing because of Aziraphale at the ball.

And that's it! Thanks for reading and I hope your mind is blown as much as mine is.

EDIT:

Hey I don't mind anyone pointing out production reasons that this might be the case or disagreeing with my analysis (over-analysis, some might say 😉). Please be kind about it, though. I'm not ignorant of the practical limitations involved in film making, but some of these costumes were really distinctive in a way I thought might be intended to draw attention.

For those of you who do find this theory convincing, I feel I should mention that I was working under the assumption that this stuff would have taken a few days to film, even filming it all together. That would strongly suggest that the actors were deliberately costumed the exact same way over multiple days of shooting, which made me think it had to be purposeful. @coranax was kind enough to point out, though, that behind the scenes videos said the extras were filmed separately to the main actors because of Covid protocols. In that case, they could have done it in just one day and that weakens my confidence in its intentionality.

Finally, all of my points about the scene with Shax in 2x03 stand. That was not a case of accidental continuity errors, it was really elegantly choreographed to enhance the tension in the scene. I say that with confidence because the extras are doing exactly what Shax is doing: circling Crowley, appearing where he doesn't expect them, creating a whirlwind sense of being off balance and out of control. I think it's really cool and effective, whether there's a deeper meaning to it or not.

[synchodai]

There's a lot that's been said about Piltover being Zaun's oppressor, and yeah, yeah, they have class inequality — but why is this world inequal? What does oppression mean and look like? How are systems of oppression maintained and how are the people in the undercity kept in their hellish situations? It is not enough to say those in the trenches are othered, oppressed, and seperated from the people topside, because at that point we're just saying a rotten apple is rotten. What's more important is examining why, where the rot comes from, and how to fix it.

Class inequality doesn't just happen because a handful of leaders are inept or greedy. These systems are established and maintained for a purpose and reason. In Runeterra, they call it "progress," but in our real world, we know it better as industrialization and globalization — extracting resources from the material-rich periphery to create affluence for the imperial core at the cost of poisoning and disenfranchising those without. (Class inequality, climate change, environmental exploitation, land appropriation are all inextricably linked.)

Air pollution is the lever of inequality in Arcane, and that's why when season two ignored it, they lost the social and political core of their story (I yap about it more here). Clearly, there is a demarcation between top and bottom in order to keep the poison gas in Zaun and away from the Piltovans. In other words, pollution is the means, justification, and results of oppression.

[prettycottonmouthlamia]

So I might as well write down my thoughts on Babel, now that I have had some time to more fully digest the story while not in the throws of deep emotional pain. Going to put my thoughts in the read more below

On a very overhead view of things, I think that I am a little frustrated with how long it has taken for this information to come out of the game. It's been the game's best kept secret for five entire years, and something that the game has clearly been hinting at for huge amounts of time, but it does sting a little bit that we had to wait so long for the truth to come out. Boy, does it come out in this event, but it's a been a long, hard, confusing wait.

It has, as well, resulted in what I believe to be one of the best written events in all of Arknights. Babel is, in itself, a tragedy that acts as the opening act to the tragedy that is the Twin Kings and their rule over Kazdel. It is a demarcation of their acknowledged struggles against the rest of the world, against the Sarkaz, and against themselves. It provides a really refreshing amount of depth and context to the Londinium crisis and why things have turned out this way.

The thread of fate is a constant refrain over Arknights. It touches Patriot's tale and Amiya's prophecy, it touches Theresis and the prophecy of his death in Londinium, it colors the viewpoint of the entire Cyclops tribe, and it affects the Twin Kings and Ascalon in turn. This event gives us an answer to the lingering question that has been in the backs of our minds for a while now: is prophecy certain, and is Fate guaranteed? The answer to this, is no. Prophecy must be inferred, and in that inference can we find the way to resist it, even if only for some time. I suspect that this is here because Amiya's prophecy, something that has only been brought up again in Chapter 12, will come back in intensity in whatever Part 3 there is, as Amiya gradually begins to unlock more and more functions of the Civilight Eterna. And in turn, will Theresis even die, or will he find a way to avoid his fate?

Babel is also a story about what it means to be a Sarkaz. The question is brought up about how the Sarkaz are not really the same race at their core. The Nachzerer and the Vampires are not kin in the same way Perros are to each other. How could the Twin Kings hope to unify them? Theresis and Theresa's answers are their responses about who the Sarkaz are. Theresis is pessimistic, trapped in the past, a past that is unfortunately real and undeniable. He sees that war is the only solution, that inevitably, the Sarkaz can only come together when war either offers them an outlet for their revenge or threatens their home. It is in times of peace, Theresis would argue, that the Sarkaz are at their weakest and most disparate. For Theresa, the answer is that the Sarkaz are entirely capable of unifying with time and effort, and with further time and effort, are capable with unifying and coming to terms with their past too. She is the optimist answer, the idealist answer, she sees in the Sarkaz the strength to let go of the past and work towards a better future, a better future that the Sarkaz have long denied.

Theresis and Theresa did not want to drift apart, this much is certain, but it was completely unavoidable. The same Theresis who knew that his sister would make the better ruler, that his sister had the qualities needed to be a leader, was the same Theresis who saw those qualities push her down a path that he saw as too slow for the future of the Sarkaz. Theresa, who watched her brother struggle to become a warrior, saw his tenacity and perseverance pointed against her. Maybe, in a vanishingly small possibility, they could have compromised, and found a path forward. But that wasn't in the cards for them.

Theresis, Theresa, and ultimately, the Doctor all end up making heavy choices under their respective burdens. The Doctor's part of the story is fascinating and a fulfilling answer to the questions around the Doctor brought up in Vigilo. Who was the pre-amnesia Doctor? They were a single person, a lost remnant of their civilization, tasked with an impossible question of how to handle the future. Their identity burdens them with guilt, foreknowledge that they are the only remaining one of their kind, and the choice put in front of them is tragic.

A) Do you move forward with the last of your civilization's projects to its completion point? Do you allow all on Terra to be assimilated into Originium, to preserve it and protect it eternally as information stored in the amber mineral? Do you prolong the suffering of the people you've grown to care about? Do you make the one you care about most, Amiya, suffer more and ultimately die because of a grand ideal of what will happen to her?

or

B) Do you resist the last hope of your civilization? Do you fight back against Originium, do you work to reverse its assimilation process, do you along with Theresa work to unassimilate everything out of the Assimilated Universe, in the hopes that maybe their lives will mean something? Even though you know that the force that destroyed your much more advanced and powerful civilization could just as easily destroy theirs? That their lives will be fleeting?

The Doctor ultimately makes a choice. The Doctor does not merely betray Theresa by aiding in her assassination. They do not merely betray Kal'tsit by failing to trust her. The Doctor does not merely betray Babel by having it destroyed. They betray everyone. They turn their back on the identities that they have built, the relationships they formed with everyone, in order to say to themself quite clearly:

"I am Oracle, and I am the last of my kind"

It's why their demeanor changes. It's why their curiosity towards Terra dies out. It's why their mind, in clear understanding of what their goal was, is now suddenly able to direct the lives of the people under them with perfect precision. They become the perfect, calculating commander that Ace and Scout remembered them as, because now, in the face of everyone's inevitable end, in the face of the assimilation of Terra in the given century;

Does any of their lives truly matter?

The answer is no. On some level, I believe the Doctor still cares, but they no longer allow that sentimentality to fully interfere with what they have to do. Look no further than how they betray Amiya. They not only kill Amiya's maternal figure for the sake of the Originium Project, their first betrayal. They let their relationship deteriorate to the point where even Amiya is aware that the Doctor has become quite different. They no longer share the curiosity and joy in being with Amiya as they once did, their second betrayal. And once the Doctor makes up their mind about what they have to do, once they make their choice and meet with Theresis under the statue of the Twins, they never bring up curing Amiya's Oripathy ever again. Their third and final betrayal, the breaking of a promise.

They chose to let the person they care about most in the world suffer, and die, from Oripathy, because being assimilated into the Originium Project is the correct path.

Babel is super narratively and thematically dense and honestly I am probably not the person you should expect to uncover it all, but I just have so many thoughts that it would probably bloat this post even more.

[felassan]

Dragon Age: The Veilguard info compilation Post 4

[Part 1] [Part 2] [Part 3] [another post]

Post is under a cut due to length.

There is a lot of information coming out right now about DA:TV from many different sources. This post is just an effort to compile as much as I can in one place, in case that helps anyone. Sources for where the information came from have been included. Where I am linking to a social media user’s post, the person is either a dev, a Dragon Age community council member or other person who has had a sneak peek at and played the game. nb, this post is more of a ‘info that came out in snippets from articles and social media posts’ collection rather than a ‘regurgitating the information on the official website or writing out what happened in the trailer/gameplay reveal’ post. The post is broken down into headings on various topics. A few points are repeated under multiple headings where relevant. Where I am speculating without a source, I have clearly demarcated this. if you notice any mistakes in this post, please tell me.

Character Creation

BioWare confirmed that even if you make your Rook a short king, the team has done work to ensure animations fit any character build [source]

"Dragon Age's character creator has seen a massive glow-up" [source]. "The volume of choices you get here are frankly insane. As Epler noted, “you could spend forever here,” and he’s not kidding." [source] The art and graphics teams spent a lot of time trying to make hair look amazing [source: the Discord]

In CC we can customise our "bulge size" [source]

Some more detail on the new lighting options to see how Rook looks like in CC when you make them: you can view them in "blazing forest sunshine versus the glare of an underground temple" [source]

"newly mobile, extra-hairy hair" [source]

Faction choice has statistical boons. For example, Shadow Dragon Rook deals extra damage to Venatori blood cultists [source]

Faction choice basically determines why Rook has been called to help in the fight against Solas [source]

All pre-determined character models in CC can be adjusted [source]

You can make a really tall dwarf if you want [source]

"Setting your previous world state is fully integrated into the character creator for Veilguard" [source: the Discord]

Inquisitor appearance will be re-created, there is no way to carry their appearance from DA:I into the game [source: the Discord]

Classes for Rook are not restricted in the sense that you can play any almost class, lineage and faction combination that you want. For example, a mage Rook can be a Crow [source: the Discord] (Fel note: it sounded like Rook cannot be a magic-wielding dwarf, even though the exception of Harding now exists) (Fel note: there is a mage Crow in one of the books)

Story and lore

Here is another article which refers to Rook as "the Rook" [source]

The story is set "9-10 years from DA:I and about 8 years from Trespasser" [source: the Discord]

They have been tracking Solas for "a while. Something else you’re gonna learn about…" [source]

The game does not use the Keep [source]

Shadow Dragon is the faction background with the most in-game reactivity (e.g. from other characters' dialogue) during the prologue section of the game, due to the fact that the prologue is in Minrathous and the Shadow Dragons are a Tevinter-based faction [source]

"I also saw a big moment after the gameplay trailer ends that I can't talk about" [source]

During the more narrative-heavy dialogue choices, "the game will also give a bit of context on what you're about to choose, but doesn't go as far as explaining the exact consequences or precisely what will happen thereafter" [source] "the game shows you how you’ll go about the choice, but it doesn’t tell you the consequence of that choice". [source]

"The game is bringing back Dragon Age 2s dialogue system, which was tone-based and resulted in its protagonist Hawke falling into one of three different personality states. You have three general tones in a conversation: kind, humorous, or aggressive, with slight variations depending on the situation" [source]

"Venatori blood cultists" [source]

"The whole game has the makings of another Suicide Mission [ME2], given that you are up against a god with the ability to collapse dimensions" [source]

"Choices and consequences". "Now, it seems you can see the effects of your choices like never before, and this time, they marry that choice with incredible visuals" [source]

In the bar when you're trying to get information in the opening, if you choose to fight it out and the barbrawl ensues, you then have to run from the pursuers in the bar [source]

A key concern of the developers when creating the environments was to make “a world worth saving" [source]

The prologue is quite linear but there are additional paths you can follow to find additional loot [source]

In the opening section of the game there is a dock which has been attacked and the soldiers that were there have been killed, "but rather than seeing this passively, we walked through the aftermath and had to interact with the scene to piece it all together" [source]

The tone of the gameplay video is a good indicator of the tone of the rest of the game [source]. On the tone: "dark fantasy" [source]. horror & gore is back along with DA's classic dark elements [source]

Tevinter Nights is a better tone indicator for the game than the original reveal/character trailer. Ghil Dirthalen: "Tevinter Nights has felt the most 'DAV' to me" [source]. The gameplay reveal video is the best indicator for the tone of the game (vs the character one) [source]. there is still messy dark shit in the game [source]

Tonally the game is closest to Tevinter Nights and DA:O [source]

Ghil Dirthalen: "[as] one of those unfortunate souls who has latched onto a media world so hard: This game is for me. For the hardcore DA lore nerds, I've been secretly screaming about things I saw for MONTHS now" [source]

The game is true to the DA stories we know and love [source]

Characters, companions, romance

You can choose to engage in companions' own storylines as you progress or ignore them entirely [source]

You will often have to make dialogue choices that will affect how your various companions treat you [source]

Neve is quick-witted [source], measured and elegant [source]

In the opening, you interact with the companions as you move through Minrathous. "your choices during these interactions will determine who goes on portions of the mission with you, along with how “pleased” they are with the answers." [source]

On Varric and Harding: "Instantly the two felt like they’d never been away and avoided the trap of being parodies or fanfiction versions of themselves" [source]

Solas' eyes were always purple hh [source] (yes!)

Gameplay, presentation, performance etc

Some enemies have additional shields that are weak to ranged attacks [source]

When asked about if the war table from DA:I returned, John Epler said "There is a table. Now, whether it works the same way as the table in the previous game..." [source]

Once you get passed a certain point in the game, it opens up dramatically, however it is not an openworld game and they wanted to make sure that all the content mattered and was a more structured, sculpted experience for the player. There is some exploration, some opportunities to get off the beaten path, and some spaces that are fairly wide [source]

The button to press to bring up the skill wheel is RB or R1 (depending on what controller you're using) [source]

"You'll also have access to two skills or spells for each of your two companions that you can command. For a more seamless, uninterrupted combat experience, you can also assign these skills to shortcuts (such as holding the left trigger and hitting the X button) to quickly use them" [source]

"The game is bringing back Dragon Age 2s dialogue system, which was tone-based and resulted in its protagonist Hawke falling into one of three different personality states. You have three general tones in a conversation: kind, humorous, or aggressive, with slight variations depending on the situation" [source]

"booting Fade demons into pits" [source]

"BioWare have revised Dragon Age's art direction to make character models a little more consistent with the series' lovely Tarot-inspired menu art. Flesh is ruddy to the point of painterly; facial features and bodily proportions are thicker and more striking, as though the characters had been cut from clay" [source]

The 3 specs for Warrior are Reaper (has lifesteal/stealing health from enemies, and other freaky powers, does big damage), Slayer (can wield the biggest blade, big swords, big damage) or Champion, which is tanky, shield-using and Paladin like [source] [source]

There are quick-recover prompts [source]

You can roll through puddles of incoming AOE [source]

There are ziplines between some levels levels [source] (Fel note: just like in As We Fly... )

There are also slidey hills to slide down between some sections [source]

There are still some Hinterland-type areas designed for exploration [source]

We can do some home base management to our home base [source] (Fel note: this refers to The Lighthouse, detail in a previous post)

Camera placement is quite zoomed out [source]

Where Rogues have 'momentum', Warriors have 'rage' and Mages 'mana'. When a warrior spends rage in the ability wheel it triggers more powerful attacks. this has been referred to as a build-and-spend mechanic. this system resource gates your use of more powerful skills and is built by getting stuck in [source]. Momentum for Rogues is built by landing hits without taking any [source]

There are big glowing environmental cues for picking up loot or replenishing health potions [source]

"Epler noted that The Veilguard will not be an open-world experience like Inquisition, and instead will have large spaces to explore with quests littered throughout. This allayed my early concerns that they would course correct too hard from the oft-maligned open areas of Inquisition" [source]

Melee and ranged attacks can be charged up [source]

It sounds like there is an option to have greater guidance on when enemies are attacking [source]

The community council gave a lot of notes on the game's art direction to BioWare (gave feedback to the devs) that they were told and shown were changed from the first reveal/character trailer, these made it into the gameplay trailer [source]

The community council asked about having an arachnophobia mode, though they can't guarantee this was implemented [source]

"You’re encouraged to explore and grind for stronger weapons and gear, so your stats and cosmetics improve the further you get into the game" (in the sense that you’ll be rewarded for hard work) [source, two]

Follower information such as cooldowns and health will be visible on the HUD [source: the Discord]

There is a "quick cast" option if you prefer not to use the wheel, should be a chorded action using a controller [source: the Discord]

On PC you can play with keyboard and mouse or controller [source: the Discord]

An accessibility option is the ability to make auto-targeting stronger or weaker depending on your preference [source: the Discord]

The game will have DLSS support at launch [source: the Discord]

Re: hard drives, the game can be played using an HDD, they would recommend an SSD though for the optimal experience [source: the Discord]

There are lots of different interface options you can play with, e.g. combat text size, opacity, when to display health bars [source: the Discord]

Other

The leak from last year or whenever it was (the one that leaked screenshots and a gif from the game) was mainly a lot of outdated stuff and didn't really represent even the early version some community council members had played [source, two]. It was not leaked by a member of the community council, but by a member of another focus group [source]

The community council were given the chance to play the game twice, once in Fall 2022 and a year later in 2023 [source]

There is no information as yet regarding when pre-orders will be open [source: the Discord]

BioWare are hoping to at the very least have the very "best of" the Discord dev Q&A featured on social media and potentially in a blog [source: the Discord]

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