#even the narrator was broken by the end

[pokelec]

Without going into detail, the new Chapter 3 for the Damsel route is the most terrifying thing I have seen in this game.

[flowercrowngods]

what if who did this to you part 4 is tinged in the pale blue of max klinger’s l‘heure bleu and what if it’s so liminal it doesn’t feel real because the after never does when you don’t even know the before, and what if robin turns into a caspar david friedrich painting and what if steve becomes the blue that depressed robin but she loves him anyway and what if i just lose my mind about them

[lobpoints]

Angela in LC, consistently telling the manager that she felt trapped and helpless and considerably miserable working in LC because she is denied of her individuality and personal choice and personhood and is also denied of any meaningful interactions whether with the sephirot or her own creator, lc hokma saying that what they have done and are still doing toward Angela was inherently cruel, even A at some point knee down to apologize to Angela because he also recognized what he was doing to her is inherently cruel in one of the loop (day 40), Angela in the epilogue straight up saying that she felt abandoned since her birth to the end for nothing hence she wanted to live her own life now, the lines in the dark in between day 47-50 are literally her begging to be noticed one last time:

LC essayist: but we literally can't know Angela's personal motivation until ruina she has never once showed her motivation and she was supposed to be hated by the narrative always and forever in LC

[thewhizzyhead]

being a busy ass student with student journalism gigs on one hand and comm academic shit on the other is very interesting because with the jam-packed life I live I only really get to breathe at like late lAAATE night when no one can bother me about my responsibilities other than myself. that being said that's also when creative brain goes into overdrive and now misfits finally has the final draft of its opening number woo

[organised-disaster]

Aight @baxieblur-turnip and @randosfandos y'all know the drill here it is

SNOWBIRD: CHAPTER IV

I stare at the ceiling. It's quite nice. Wood panels. Inoffensive. I count the scratch marks in it, then the proper holes.

I've just nicked it more than I've actually hit it. I don't especially try when I throw my knife. It used to be Otto's. I feel bad launching it at the ceiling, but it's what I do when I'm bored.

I retrieve it from my drawer. I flick it open and close a few times, running my thumb over the dimpled texture of the green handle while I study the ceiling. I can almost see the shape of a face...

I throw the knife up into a blank spot. It makes a tiny scratch. Not enough force. It sails back down into my hand. I catch it easily, the blunt side of the blade slotting seamlessly between my fingers.

Again. It thuds into the ceiling, between the boards, and I almost think it's going to stay there. It slides out, however, rotating to be blade-first. It pierces the pillow next to my head. How unfortunate.

Again. A thunk can be heard as it stays put. I stand to retrieve it, my bed creaking in protest. The ceilings are not especially low, but Otto's knife is easily within my reach.

It comes away too easily. Not enough force, once again. I stay standing instead of lying down again. I look at the knife in my hand.

I could stop. I could stop damaging the ceiling over and over again, and I could stop blunting the knife. I should stop.

I am only breaking things. No, not even breaking. This is nothing.

This is just more purposeless damage. I am just stabbing the ceiling, the ceiling that can not die, or feel it at all. This is an exercise in futility. I am satisfying nothing.

The sound the knife makes as I personally drive it into the ceiling is very satisfying indeed.

I step off my bed, landing silently on my floor. I allow the knife to say in my ceiling. I don't need it, anyway. I have other, much sharper knives. Better knives.

I pass my empty wall. The spot with four holes in it as if something was once displayed there stares into me, accusing me. I face it, staring back. I blindfold it by displaying Sera's gift. Yumi's warm, grey eyes now bore a hole into my skull, but it's a marginal improvement.

I shut the door quietly behind me. I don't care about the noise I make, but I don't need to be loud. It would feel too small.

My footsteps echo in the empty hallway. There used to be photos in this house. Filling the walls. There also used to be laughter.

The one photo left sits alone on the mantle. I know what it looks like, of course. I wasted many days staring at it.

Yumi is approximately seven. My mother is desperately trying to keep a hold of her, obviously tired but still smiling. Yumi is wearing a large grin, several teeth missing, as she seems to yell and reach toward the photographer.

One of her hands is pushing my mother's face to the side, slightly squishing her smile. My father is holding me, smiling at my mother and Yumi rather than the camera. I look grumpy.

It was taken in winter, so we are all wearing warm clothing. I look adequately cared for, with a knit beanie and fluffy green jumpsuit covering all of me but my face. My father's puffy jacket is an equal green. Yumi's brown sweater matches the one our mother is wearing. Yumi had to be wrestled into that sweater.

It's a lovely, lively photo, full of warmth and happiness. It reflects nothing of what we are now, though. It's almost like looking into a broken mirror.

You know what's supposed to be there, what it's supposed to look like, and it just doesn't. You can tell what it was. You can tell what it did. And it will never be what it was again, even if you fix it.

It's far more complicated than a broken mirror, though. We've lost all but two of the pieces, and one is so dirty and scratched that it's functionally worthless. We don't even have the glue to put those two pieces back together.

I hate the year-old girl in that photo. I hate her dissatisfied frown and barely visible black hair. I hate her chubby, tiny, tightly balled fists. I hate her innocence. I hate her ignorance.

I'm not looking at the photo now, though, so there is nothing immediately in front of me to hate. At least until I reach the mirror. But I already know what I look like. I will just ignore myself, like always.

I wash my face for the third time today. I should apologise to Sera. I should also never speak to Sera again. I should also lie down in the sand and wait for the ocean to claim me.

It's unclear what order I should take those actions in. Logic states that the ocean will take up far more of my time than begging for Sera's forgiveness and exit from my life.

I do not like logic. It is normally against me. I don't really want to talk to Sera right now, either. I don't want to talk to her, full stop. She'll come to me, talk to me, convince me to talk to her. She always does.

Of course, the Reaping is soon. I have several hours to kill. Normally, I'd spend this time with Sera. It would be tense, and there would be something inherently sad about it, but we would have each other. And that would be how we held each other together.

But not today. I won't lose this. I don't lose. It isn't something I do. I don't need Sera. I need her like I need a gaping head wound. I need her like I need the knife in my ceiling. Gods, I hate that knife.

I hated Otto's urgency as she pressed it into Yumi's hands before pressing an equal kiss to her lips. I hated my father's soulless eyes as he dropped a box of Yumi's things on my lap. I hated the message at the bottom of that box.

I hate that message.

I twist the tap violently enough that it must have bruised my hand. What a shame. The tap drips for a moment, then realises it's done with its job and ceases. The ensuing silence is decidedly agitating. It is broken by the sound of the door creaking open.

I will not look in the mirror. I will not acknowledge who is staring back at me, and I especially will not acknowledge who is behind me. I bring my hands behind my head, gathering my hair into one area.

I make sure to keep my eyes closed. I slide my hairband off my wrist and wrap it once, twice, three times around my ponytail until it is tight and stays in its place just behind where my head curves. I drag the towel across my face, mildly hoping it'll miraculously turn into steel wool.

I push past the man with the unshaved face and uncombed hair. I do not speak to him. He has missed his chance. He lays a hand on my shoulder.

The father makes some semblance of an attempt to speak to his daughter. The daughter coldly brushes away her father's hand.

My gait is not hurried, but most would fall behind. I don't know where I'm going. I suppose I'll find out when I get there. More people are around now. Most of them are Peacekeepers.

Preparing for the yearly slaughter, of course. It's a miracle Annie won the last. The poor girl snapped like a twig the minute Moor was beheaded. I don't blame her.

We were... not friends. Never friends. I knew her. It wouldn't be right to say that I know her. But we interacted, and I didn't hate her. She's how I knew him.

I remember how she trembled in the chair she looked too small in when her other friends rushed in to wish her luck and comfort her. He would have loved to, but mentors aren't allowed to.

I don't envy her. Or him. Nothing good came of their victories, aside from the food parcels for District Four. He's off in the Capitol being treated like an object, and Annie is... hopefully still breathing.

Perhaps I should visit her. There was far too much screaming coming from her house in Victor's Village for a woman who lives alone the last time I tried to check on her, though. It's best that I stay away.

Seth is about her age, I believe. They've never once held a conversation, but Seth has a way of speaking without his voice. He is very regular with his visits to her.

He looks almost identical to his sister. Messy blonde curls that spill easily into his eyes and tie themselves into knots around his ears, dulled-gold irises, a constellation of freckles across his nose and cheeks, a solid, strong build. One of their very few physical differences is his facial hair, which isn't much more than some thicker patches of fuzz at the moment.

I'm told he's very handsome by his many fans. I don't see it. He's just a male version of Sera, so feasibly I should be able to see it, but it just doesn't appear to me. Perhaps it's his lack of everything that I find sweet about her. Sera's face in my vision every day for almost two decades could have warped my perception of what "good-looking" is...

Most people assume Seth is mute or deaf or both, but he turns when someone talks to him, and he responds with a mumble or vague noise if I ask him something.

Seth is... strange. He's oddly fascinated by seaweed and the like, wasting all his free time poking at samples of it pulled up of fishing trips. He doesn't feel anything until it's applied tenfold, and even then, it doesn't appear to bother him. He'll just stare at people if they talk to him.

He talks to his friends the most. They adore him. It's understandable, with his inexplicable odd charm. It was easy to assume at first that they were just acting like they liked him because they found it funny.

They're genuine, though. They gather, the five or so of them, without him occasionally. I once walked past them as they were talking, and he was mentioned many times.

They talked about how odd it was that he knew so much about seaweed, but changed it immediately by talking about what he knew and how interesting it was. They discussed if they should bring Seth along to an event, mainly debating if he would enjoy it. One of them mentioned a rock Seth had given him, holding it out and praising it.

I don't consider myself jealous. It made me wonder for a moment if that was how the people who knew me talked about me when I wasn't present. I felt relieved for a moment. I am not one to try to deny facts, however.

I'm not blind. I saw the glares Seth's friends gave me.

One of them was Otto's younger brother, Oswald. She had two, him and a boy named Fayrouz, who's now about thirteen. He hates me now, but I would sometimes see him when Otto came over to talk to Yumi.

I remember her fairly well, although I didn't know her as greatly.

Otto loved green and wore a lot of it. Mainly deep sages, but I'd occasionally see her wearing an almost blindingly lime shirt. She was one of the fishers and had the build to match. Her burnt umber skin was lined with scars, especially her hands, and her whole body rippled when she flexed.

She had distinctly sharp features, much like the Esthel twins. Unlike them, though, her caramel-colour gaze could easily cut diamond. Her face was also more square, drawing attention to her high, ever-bruised cheekbones. She would always wear her black, curling hair in a low ponytail.

Oswald and I talked a little then, while our sisters were busy with their schoolwork and their gossip. He's a nice enough guy. Or, he used to be, anyway. He has a lot of friends. Sera is one of them.

He's very fond of her. She's ushered me out of her house so she can talk to him before. It makes sense. He detests me, and Sera likes him for some reason, so she keeps us separate.

Mechi sometimes brings up how Ozzie being alone with Sera doesn't bother me, but them being alone does. I don't really have anything to address that. I can't really take him seriously, I guess. I know I'll never have to worry about Sera preferring him to me.

He looks just like Otto. His hair is curlier than hers, and he keeps it cut short, but very similar. His eyes used to have her same piercing quality, but now they smoulder when I look at him. He didn't use to try to look like her.

It's for the opposite of the reason I keep my hair long, I'd imagine.

When Yumi died, it was like his older sister had died all over again. But at least there was someone he could rightfully blame. He likes it when we're partnered together in training. Especially when weapons get involved. He never wins, but he doesn't care.

Yumi's swap was considered "a shock" and "a display of friendship." Mine was called "a tragedy" and "unjust" and "stealing."

Otto loved Yumi deeply. And then Yumi was called, and Otto couldn't imagine life without her. So Otto took Yumi's place without a moment's hesitation. Yumi was comforted and consoled, and Otto was mourned as a dead woman.

Yumi cared for me. And then I was called, and Yumi felt that I was her responsibility. So Yumi took my place without a moment's hesitation. I was scowled at and disregarded, and Yumi was mourned as a loss.

It's not unfair, not exactly. Yumi was all kinds of excellent, but Otto was different. Colder, but still as caring. Less patient, but still as willing to listen. She gave solutions when presented with problems.

I remember her voice being smooth and warm. Much like someone else's. I didn't cry at her funeral, either. Rumi Erudite doesn't cry.

There was so something so utterly tragic about Otto.

It doesn't matter, not anymore. She's dead.

Ah. So my destination was the beach. Logical. It's nice this time of year. Victors will often stop here on their tours.

I don't feel anything when I sit down in the sand, just ahead of where the waves lap at my feet. I don't want to get saltwater on these shoes. And I don't like the way the waves move. I don't like the way they're getting closer to me.

Some part of me laughs at that. They're waves. They can't be malicious. They can't be cunning. They can't be evil. They can't... hate...

I shake that away and shuffle further up the beach.

It would be nice if I could feel what I felt three hours or so ago. It would also be nice if I could describe that feeling. It's childish that all I know is that I feel it with Sera, childish that I know nothing of my own emotions.

I wish my appreciation of the sunsets and sunrises wasn't linked to Sera. I wish my best memories didn't involve her. I wish that I didn't feel short of breath when she laughs.

I wish, I wish, I wish...

How childish. How naïve. How old am I, really? That I'm stuck wishing and hoping and whining? I hate that. I hate it all. I hate Sera.

I stare out into the ocean. I normally try to identify the boats on the water, but it's all been put on hold for the Reaping. The ocean surface is empty. It's slightly odd. It's very much non-standard, but it isn't alien.

It's sort of like when the birds all fall silent and leave the skies when a storm is brewing. It's not like it isn't normal. It's just not a good sign.

No boats means a child of District Four dies.

I remember when Sera would come home from storms. If she was caught in one, it'd be because they blew in before they could react. I'd wrap a blanket around her shoulders as she laughed about how she had been thrown overboard and hauled back on more than once.

I've noticed a pattern with Sera. Every time something bad happens to her, she just... starts joking. It's like she can't take it seriously. She refuses to acknowledge her own injuries. I'll usually have to drag her over to Cod. The only time she's taken herself there was when she accidentally cut off part of her ring finger while chopping carrots, and even then, she still tried to deflect it as okay for about thirty seconds. She worries me sometimes.

One night after a storm, Sera didn't laugh. She knocked on my door and waited where she would normally just let herself in. Even when I answered, she just stood in front of the door, dripping wet from the pouring rain with her head hanging. I could barely hear her when she asked to come inside.

I wonder if it's possible to purge memories. The ones after Yumi's death are all blurred. Those aren't gone, though. I want them gone entirely, so I wouldn't even know that I was remembering them strangely.

Alas.

The ocean's calm, at least.

"Rumi." I jump slightly. The newcomer's soft voice surprised me, somehow so much louder than everything else. I glance at the sky instead of her. The light's changed. I have no idea how long I was staring out at the mostly-flat ocean.

I identify her by the stitching at the hem of her shirt as I turn to watch the ocean again.

"Figured I'd find you here," Mechi says vaguely.

"Yes, well..." I respond, equally non-specific.

There is more silence. I assume Mechi is admiring the sea.

"You made her cry, you know," she says after a few minutes.

"Okay." Mechi sighs.

"Showed up on our doorstep," she furthers.

"Okay." Mechi shifts next to me.

"She was bawling her eyes out about how she upset you. She blames herself for every little thing you do, you know."

"That seems like her problem."

"Gods, Rumi, don't you care? You're her best friend," Mechi says, irritated. I finally turn to her so I can glare at her.

She's exactly as she always is. Blank. Mechi does not show her emotions much. It's not deliberate, I don't think.

"Why should I care about what Sera blames herself for? Why should her issues be mine, too? When did I agree to that?" Mechi flexes her hands.

"When you became her friend, that's when," she says, maintaining her composure. I turn away from her. Mechi sighs again. "It's sort of difficult to calm her down when she gets like that, you know." I do know. I've known Sera for longer than she has. I hate it when people act like they know her better than me.

"She loves contact, yeah?" Mechi continues. "Likes having her hair fixed, likes being hugged, likes being held. She loves to have somebody wrap their arms around her." Mechi pauses for a moment. "Affection. From someone she trusts. That's all she really needs."

There's another long pause between the two of us.

"To make her feel safe again. You know how it is."

She's saying all that like she did it. That's all oddly intimate for someone who's just her friend. Mechi's not close to her like I am. I'm the only one who's allowed to do things like that. That's what I do with Sera, not her. That's ours, not hers. And I don't like what she's implying with that snarky little last comment. The sand crunches in my clenched fists.

"You're too cruel to her. You're on a good path to lose her, you realise." She really thinks she knows what she's talking about, doesn't she? "I can tell when she's upset. I can tell when she's scared. I know how she gets when you get angry."

Oh, of course. Because Mechi knows everything, apparently. She acts like this sometimes, like she's the smartest person in all of Panem. She acts like she's so much better than me.

Sera doesn't "get" anything when I'm angry. She knows it's not really her fault. It's not even directed at her most of the time. I always apologise to her afterwards, too. I hate to see her upset. Which I recognise better than Mechi.

Mechi doesn't have any right to assume things about me and Sera. She knows far less than I do. And she's making me angry. I bet she's doing it on purpose so she can lie some more and say that I'm always like this. Fine then. If she wants me to be angry, I'll get angry.

"Really?!" I snap at her. She doesn't flinch. "You really have the audacity to say that?! I've known Sera for fifteen years! You've known her for - for not even a third of that! Do you think you're even remotely capable of knowing her like I do?! Do you really think that you - "

"She says you scare her sometimes," Mechi says levelly, cutting me off. "She says you aren't really yourself."

I don't scare Sera. We're friends. She's not scared of me. She knows me. Maybe... maybe once, years ago, I did scare her, but we talked about that! And besides, she'd tell me if she was afraid of me. She wouldn't tell Mechi instead. She wouldn't hide her feelings from me. She wouldn't betray me like that.

I know Mechi's lying. She's doing it to make me angry. Sera would never betray me. Sera would never say that I'm not myself. She knows me. She knows who I am. She's the only one who does.

Mechi is a liar.

"You've got an excellent tactic right now, actually," she says, still daring to speak. "You're absolutely awful to her, then you tell her you care about her and act so sweet about it." How dare she. How dare she. I'm not. I'm not anything she says I am. I'm nothing she says I am. She's everything she says I am, if anything! She's the -

"What, are you just going to sit there and get redder?" Mechi prods. She's waiting for me to come to any kind of a conclusion on my own. I have a conclusion for her. I have so many conclusions for her, and right now, a lot of them end in her blood decorating the sand.

"You don't know anything about us!" I shout, going in the least violent direction. "I care about Sera! More than you ever could! And I -"

"You're doing such a great job manipulating Sera, Rumi."

She's so pretentious. She's so smug. She's so proud of herself. She thinks she knows me. She thinks she knows Sera. Sera is my friend, not hers. Sera spends the most time with me. Sera is mine.

She's mine, all mine. Mechi should give in. She's mine. She's not Mechi's, she's not Tyra's, she's not any of those stupid boys', she's definitely not Ozzie's. She's mine.

"That's why she's afraid," Mechi says, so quietly. I must have said all that out loud. I don't care. It's true. She knows it's true. And she knows she's lying.

Something breaks. Some restraint I was keeping, it's gone. She thinks she can say all that. All that without consequence. She thinks that because she's just oh so important, she can do whatever she wants.

I wasn't raised to take disrespect like that. I wasn't trained to tolerate attitude like hers. And I won't.

I strike her, hard. It knocks her over, and she cries out. I stand. She rubs the side of her face. She looks up at me. Where have I seen that expression before..?

I don't care. I don't care.

"Stand up," I snarl. She's afraid. She's cowering at my feet. She didn't expect to be hit.

Something tugs at me, at the back of my mind. I ignore it. I demand that Mechi stands up again. This time, she obeys. I hit her again. It doesn't... do as much this time.

I hit her with just as much force. I think.

I punch out at her again, but she brings her guard up and blocks it. I am abruptly reminded that Mechi has had nearly identical training to me. She sends a violent blow into my cheekbone, causing me to tear up.

I punch her in the teeth on my rebound. Her hand instinctively flies to her mouth. I take my opportunity and kick her knee, knocking her down.

I bring my own knee violently into her face.

It doesn't occur. So I bring my own knee violently into her face.

Don't I? She's at the perfect angle for it. It would probably break her nose. So I bring my own knee violently into her face.

But I don't. I stand. Useless. Mechi looks up at me. She swipes the back of her hand across her mouth, stepping up and away from me. Her face softens.

"I can tell you aren't trying," she says quietly. She doesn't even have a lisp. "You don't really want to hurt me. You're just angry."

"Shut up," I hiss. There's a good, cold fury in my voice. Mechi's expression is one of pity.

"You only did that because you hate that what I said was true."

How many times do I have to tell her? How many times do I need to bruise her? How many times do I need to split her lip?

She is a liar. I love Sera. I don't hurt her. I hate hurting her. I don't mean to. I mean it every time, and I regret it so much more every time. Something in me always whispers that she deserves it. Something in me is wrong. Some part of me is broken.

I must be doing something stupid with my face.

"You need to go talk to her. She loves you, Rumi. And you keep on breaking her heart," Mechi says, her voice weak and wavering. I mishear what she says next. I must've.

Because otherwise, Mechi just said that Sera is going to die.

Mechi wipes one of her eyes.

"I tried to talk her out of it. She said she didn't have a choice." Something icy spreads in my chest.

"She's rigged the Reaping, Rumi. For you. It's going to be her. I don't know why. She could have done anything else." Mechi is lying. Again. She must be lying. She must be. The ice creeps up my spine.

"Does she have a death wish?" I demand, although it's more desperate and pathetic and on the verge of tears than actually demanding. Mechi laughs, cold and hollow.

"Same thing I asked her," she mutters. "She didn't tell me. She just gave me this sad smile." I grab her, seizing her by the collar. The ice reaches my arms. I will not let go of her until she tells me the truth. Mechi reaches up to try to free herself, her hands landing on my wrists.

"I don't believe you," I hiss, more strangled than I would have liked it to be. It's true. I don't believe her. I won't believe her. I don't want to. Mechi shakes her head.

"It's what she told me, Rumi," she says, voice low.

My veins freeze over.

"It's my fault that she knew," Mechi says, shame colouring her face. "I overheard a guy we know, I forgot his name, bribing Papa to rig it to be you." Mechi squeezes my arms tighter.

"He accepted. Because he's shameless," she mutters angrily. "So I told Sera, because what else was I supposed to do? Let her watch you die?" she spits. Her words boil with anger and resentment.

"She got him to make it all her name," she says, some of the hate leaving her voice to make room for defeat. "He wouldn't listen to me when I asked him to just drop the whole thing."

Tears drip down her face as her posture weakens.

"He hates the Kaishurrs. He was basically being paid to kill one of them," she says. "I don't know what she's planning to stop you from volunteering, but Sera's smart. She's going to be in the Games." I release her, staggering back. I am cold. I am unnaturally cold, on this nice, warm morning.

The ocean laughs at me.

The ice does not release its horrible grip as my body starts to move. Mechi moves out of the way as the beach rushes past, the sand giving way to earth and the earth giving way to concrete.

My chest tightens. I can't breathe.

My feet carry me forward. I can't see. All I can hear is my heart hammering in my ears. And Mechi's awful words, echoing over and over again.

She's going to die. She's going to die. She's going to die. She's going to die, and it's my fault.

I can't go fast enough. My top speed is not fast enough. I am not strong enough. I can't save her. We're both going to drown.

Blood is spreading through the water like a grim plume. Rain is cutting into us like knives. I can't save her. I can't save her. I can't. I can't. I can't. I can't. I can'tIcan't. Ican'tIcan'tIcan'tIcan'tIcan'tIcan'tIcan'tIcan't.

WhyisnobodyherewhyisnobodyhelpinguswhyisshenotbreathingwhyamIuselesswhyamIworthlesswhycan'tIsaveherwhywhywhywhywhypleasepleasepleaseI'msorryI'msosorrypleaseopenyoureyespleaseplease -

A scream tears at my throat, but it comes out as a stream of bubbles, and comes back in as suffocating, surrounding water. Every desperate, sprinted step hurts. Everything hurts. My clothes feel heavy. Seawater burns my eyes and nose.

We will drown. We will drown, and it is my fault. She hadn't insisted. I had a choice. We will die. I am drowning. I am drowning. I am drowning.

I can't breathe. I can hear the ocean. Crashing waves. Dragging me down with no remorse. No mercy. No care.

Water roars in my ears. It hates me. It's always hated me. It let me feel safe for a long time, so I'd let my guard down. So it could kill me. It's docile when I see it, when the sun shines.

It shows me its true nature when it storms. It shouts at me, comes for me, hungers for me.

I fear it. Not when I am not alone. It doesn't dare touch me when I am not alone. But I know how cruel it truly is. It hates.

It consumes me. It swallows me whole and does not notice. It does not care what it is doing to me. It does not care how it seeps the life from me.

I can't move fast enough.

She comes into focus. Her face. Her head. Her mouth. The blood around her. The blood on the docks.

She turns to face me. I see her eyes widen. Through my pain and my rain and my desperation, I see her.

My arms come around her body. We fall to the ground. The solid, dry ground. I fall into blood-spoiled blonde curls and the forever poisoned scent of petrichor and saltwater and rotting wood and blood and exposed bone and desperate screaming and tear stained cheeks and regret and pain and lasting injuries and warm nights and happy embraces and death and love and loss.

I'm sorry, I tell her. I'm so sorry.

[jacksintention]

.

[cedesect]

I want to talk about the happily ever after route for a second. I want to talk hows it's actually about the narrator. I want to talk about how smitten and the princess directly parallel the relationship between the narrator and LQ.

Smitten as the shadow does what he does out of love for the princess- a misguided sort of love. I'd argue the narrator feels the same kind of love for LQ. A love that traps, that cages. He thinks he knows whats best for LQ- he "rewards" him with something endless and meaningless in "the good ending". "happily after ever" is a VERY similar title, and in it we are also trapped in the cabin by someone who thinks he knows what we want, and that something is something endless, and meaningless- plates refilling, games resetting. It's awful. it's torture, the narrator admits this when he watches the events unfold, it's one of the only times we see him show such abject... I mean, it's hard to describe the emotion. He's a little bit distraught, a little horrified, a little disgusted. he sounds broken, really, like the full weight of his actions has just been shown to him.

These lines stand out to me, too. This chapter really puts him in a new light, even if it's just for a moment, before the echo of him fades away. God, the Pristine Cut is a masterpiece. I've had so much fun with it so far, its really fucking great.

[dafterdarling]

wrong colours // aitana bonmati

aitana bonmati x madrid/england!reader

warnings: slightly suggestive? kissing/heavy petting

summary: aitana shows up to training wearing the wrong sweatshirt

word count: 1167

Aitana was organised or at least she liked to believe she was and to her credit you thought she was... most of the time. This morning not being one of these times- you had just played against Barcelona the previous day and to no ones surprise lost but still Aitana insisted you come to her apartment and spend the night-

"Come- I make it up to you?" Aitana whispered in broken English in a more secluded corner of the long Camp Nou corridor.

You shrugged, "I don't know..." You were feeling pretty down after getting battered in front of thousands of Barcelona fans.

"Please?" She pulls on the sleeve of your white coat and you're suddenly disarmed up her looking up at you with pleading eyes.

So after a brief team meeting after the game, you turn down any invitations from your teammates about going over the game or getting food. Instead, you find yourself waiting on a street corner waiting for Aitana to pick you up.

After finding you, Aitana drives the two of you to her apartment where you relax on her nice sofa eating the pasta with salmon that she had meal planned the previous day.

It's nice when you get to do this- which isn't often since the distance and the fact that your relationship isn't exactly public knowledge make it difficult. But when it happens you couldn't be happier with her leaning against you and your arm around her shoulders as she narrates whatever is playing on the TV since you don't know Catalan.

You sigh when Aitana leans into you, "You play good." She whispers lowly and you smile slightly at the admittance.

Aitana is known to dislike Real Madrid so each compliment comes as a small reward.

"Thanks, baby but no one plays better than you." You lean down to pinch her side and she lets out a small yelp before jumping on you in retaliation.

She tries to grab you're hands as you tickle her before she finally pins your hands to your sides as she straddles you on the sofa. You smirk and lean forwards to kiss her but she turns her head before you can reach her lips and then sticks out her tongue.

"Please?" You try to plead with her slightly, pretending to thrash against her grip even though you and her knew that you could easily overpower her.

Aitana laughs before leaning down and kissing you slowly, her hands slipping off your wrists to hold your face. With your hands now free, you bring her closer until you're chest to chest with your strong arms around her waist while you deepen the kiss.

"Bedroom-" You say between heated kisses and she nods, so you slowly get up off the sofa still kissing her- your hands now in the back of her sweatpants, palming her ass making her moan lightly into your mouth

You suddenly break away to look at Aitana. She's a vision and if you could you would take a photo, her hair is slightly mused and lips red from kissing you. Mouth open as she tries to catch her breath and shirt uncovering her stomach from where you had lifted it.

You grab her hand and lead her to the bedroom you know so well by now.

And that's how you ended up with this morning. Aitana rushing around the apartment trying to gather her training things while you still lay in bed.

"Can't they have given you a day off?" You croak out, voice deep with sleep still.

Aitana slides across the bedroom floor in her socks as she picks up a black training top from the floor-

"I work hard- no break." She explains as she slips the top on then shoves her shoes on before looking at you. You're shirtless in her bed scrolling through your emails when you catch her looking, you glace at the clock on your phone; 8:30 AM.

"You're gonna be late, love." You smirk at her from the comfort of her sheets.

"Don't want you slacking on that hard work now, do we?"

Aitana jumps on you and you laugh before kissing her goodbye then giving her ass a light slap as she rolls out of bed to make her way to training.

After a little while you hear a accented goodbye and the door slam, leaving you alone.

Meanwhile, Aitana was frantically driving to training and she eventually made it to training on time- gathering her things out of the car before making her way to breakfast where everyone was already sitting and eating in groups.

She makes a beeline for the food, taking her usual breakfast before joining Mapi and Ingrid.

Mapi whistles lowly at her and Aitana is not amused as she'd normally be, "Rough night?" She jokes as she takes in Aitana's rushed appearance.

Ingrid elbows her and Mapi immediately snaps her mouth shut, "You okay, Aitana?" Ingrid smiles at her kindly.

"Si." Aitana replies shortly and then looks around, feeling as though everyone is staring at her for some reason.

She shovels another spoon full of breakfast into her mouth before asking in Catalan, "Is there something on my face?"

Mapi giggles slightly, "On your face, no, but that is a bold choice of jumper.... I didn't know you were a fan."

Aitana furrows her brows and looks at her top, the white Real Madrid logo is fully visible against the black of the jumper and she immediately spits out the water she had in her mouth.

This could not be happening, she had sworn that was a Barca logo when she looked in the mirror this morning.

Her hand goes to cover the logo before ripping the top off completely- only to reveal the England training shirt you had been wearing in her apartment the night before.

Aitana's face is so red she looks like she might explode and Ingrid reaches out to comfort her as Mapi laughs her ass off.

"It's okay.. they always have spare kits."

As if it could get any worse, Lucy spots the bring colour of the shirt, clearly recognising it.

"I didn't know you were English, Tana!" She teases from the table next to theirs.

"I-No..." Aitana tries to explain but eventually just accepts her fate and eats her breakfast with Mapi laughing under her breath and Lucy guessing which Lioness she was sleeping with.

"Oh! It's Y/N!" Lucy suddenly yelled and Aitana blushed furiously at your name, suddenly getting up and walking to the changing rooms.

She changes into the spare kits the management keeps and wishes she could start the day again.

The teasing continues throughout the whole day and by the end of it, Aitana is sure that the whole team knows that the two of you are dating.

When she later lets you know on the phone as you make your way back to Madrid, all you can do is laugh and tell her you love her.

[u3pxx]

KIM KITSURAGI - “Is that. My kineema.”

COMPOSURE [Medium: Success] - Something in him is about to break, *big time*.

EMPATHY - And it’s not going to be pretty, do something!

- DRAMA [Formidable] - Everything is fine!

- “Sure is.”

DRAMA [Formidable: Failure] - Surely he’s aware that he’s not the *only* person in the world who owns a Kineema?

YOU - “Is it really *yours*? I mean, plenty of people have their own Kineemas, right? Like working men, government offices, uh, firefighters I guess, maybe even animal control people? Exactly! A million different people who could’ve driven it into the uh…”

DRAMA - Pause, my liege! Ixnay on the Ineemakay!

YOU - “It could even be our *mysterious* joyrider!”

KIM KITSURAGI - Your frenzied babbling falls deaf to the lieutenant's ears. Instead, he approaches the broken vehicle, sunken in the ice. He moves with a caution and gentleness you haven’t seen him display before.

INLAND EMPIRE - It must be cold and lonely down there, in the icy water. Maybe he could sense its sorrow, calling to him…

PERCEPTION (SIGHT) [Easy: Success] - His hands, which are always stiffly placed behind his back, are trembling.

ENDURANCE - This is the shuffle of a tired, tired man.

HALF LIGHT - He’s going to do something drastic because of you. Oh god, terrible! You’re a terrible liar! You can’t look at this, you just can’t!

VOLITION [Formidable: Success] - It's not *you* who drove his kineema into the sea. You have plenty of faults, but this one is decidedly not yours.

KIM KITSURAGI - He kneels down with his head bowed, casting his face in shadow. He plants a hand on the ice to stabilize himself, squinting to get a better view of the motor carriage. “Detective, it says ‘57’ on it.”

YOU - Sweat drips down your brow, and you feel a terrible headache coming. “Maybe our joyrider has an affinity for that number?”

LOGIC - He's not stupid, he knows that it's not that.

KIM KITSURAGI - “57.”

YOU - “What about 57?”, you brace yourself.

KIM KITSURAGI - “Precinct 57.”

YOU - You wince. “Kim, look-”

KIM KITSURAGI - “When I woke up in the Whirling-in-Rags with no memory of what happened during the days before, I've taken note that something of mine has gone missing.” He grits his teeth. "A very. Important. Something."

He runs his hands over his face, messing his already unkempt hair in the process. Regret creeps up on his features. “God. Fuck. They’re going to fire me over this, they’re not going to hear me out.”

EMPATHY - Desperation settles in the lieutenant's tone. Sadly, you find yourself in agreement, even if you don’t want it to be the truth.

YOU - “People are more valuable than machines, Kim.”

KIM KITSURAGI - “Not people like me.” He rasps.

YOU - “…”

KIM KITSURAGI - Before you can say anything more, you fail to notice the lieutenant carefully walking onto the edge of the ice. He looks over the frigid water, a dizzying blue that mirrors and distorts his exhausted face back to him.

YOU - “Kim?”

KIM KITSURAGI - Seconds pass as he looks to be contemplating something. Out of nowhere, he casually takes another step where the ice ends and the sea begins. It happens all too quick for the lieutenant to even voice a call for help— if he even wanted to — his body plunging into the cold water before your eyes.

YOU - “KIM!!!!”

uhhh bonus stuff? sorry i have swap au brainworms pfttt

(im not sure what skills kim has at the moment so rn he only has narration as his inner monologue ok whoops, i would like to keep harry as the guy who thinks in dialogue trees so im still figuring it out pfttt)

also, this was done bc i wanted to expand on these old scribbles of mine, just like an idea, i just think that he'd be having an even worse time wheezes

[midnightsslut]

i know this has been talked about a lot but i can’t believe taylor put out nineteen songs where she turns herself inside out, reveals all of her trauma to her listener, and ultimately concludes that she found someone who accepts all of her scheming and even appreciates it, before ending an alternate edition of the album with ‘yeah so I’m a liar. I’ve been an unreliable narrator the entire time. you wouldn’t believe any of my stories if you actually knew who I was. I’m actually too broken to understand. i’m all alone and I can’t be helped.’

[bridge-arsonist]

Why The Voice Of The Cold Hates The Narrator

Replaying the Nightmare -> Wraith route and I'm realizing...

Jesus fucking christ, The Cold hates the narrator. Honestly, I think he might just give Smitten or Contrarian a run for their money.

He:

Doubts every word the narrator speaks

Insults the narrator whenever he gets the chance

Actively suggests killing the narrator, even stating that the princess could help do that

Not only suggests killing the narrator, but also suggests that—no—actually, death is too good for the guy. They should lock the narrator in a void just like the fake good ending. Mind you, this route doesn't even have the narrator do that!

Mocks the narrator when he finally gives up on trying to make you slay the princess

Seems happy that the narrator is gone, saying he had a feeling The Wraith could deal with him

I'm pretty sure Cold over here'd rather be playing Slay The Narrator.

Really though, upon further reflection, The Cold's hatred for The Narrator is also prevalent in The Spectre, where one of the few things he actually seems to have a firm stance on is "We should kill the Narrator". In the Greys, though he's arguably at his most nihilistic, he still seems to oppose the Narrator. He joins the Skeptic in his suspicions, and though he mostly just seems to be having a time provoking Smitten during the Burned Grey, he still does take the occasional second to spite the Narrator.

And honestly, come to think about it, it makes sense. After all, the Cold manifests not necessarily from slaying the Princess, but more specifically, from killing yourself. But not just from killing yourself, slaying yourself in The Tower at the hands of the Broken doesn't manifest him, but specifically by killing yourself to spite the narrator. I mean, other than Empty Cup and Moment of Clarity (Where we don't actually know how he manifested due to the timeskips), each iteration of Cold's manifestation checks out.

Spectre: You slay her, get the good ending, but then decide "fuck this and fuck your contruct", and stab yourself even as the narrator repeatedly urges you not to.

Burned Grey: You kill the Damsel, and in a fit of rage against both you and the narrator, the Smitten kills you, even as the narrator urges him not to. (Funnily enough, this means that, despite the Smitten's line of "you killed her, and so I killed you", it was the opposite, and the Smitten manifested the Cold)

Drowned Grey: You kill the Prisoner, and, just like in the Spectre's route, you kill yourself even as the Narrator urges you not to. If you refuse to kill yourself, Skeptic does it for you, seeming apologetic towards you, but definitely not towards The Narrator.

Wraith: You kill yourself as the Narrator urges you not to, and Paranoid also spends this route doubting the Narrator.

These routes involve various levels of emotion for the Princess, ranging from "My love! Still gonna kill you though" to "So scary! Still gonna kill you though", and an overall perception of the Princess as a corpse. But the Narrator? In all of the routes leading up to Cold's manifestation, the Narrator is met with hostility, usually leading to you killing yourself out of a mix of spite and suspicion.

So Cold's manifestation has two constants:

Some level of apathy towards the Princess, regardless of your previous interactions with her. Whether she's your perfect damsel or your worst nightmare, you don't care. You stab her.

Disregard for your own safety. You're just going to stab yourself, cool. It's better than this hell. Sometimes it's another voice fulfilling this requirement for you, like Smitten in the Damsel, or Skeptic in Prisoner depending on whether or not you willingly die.

Distaste towards the narrator. A conclusion that the Narrator is untrustworthy and distinctly not on your side. No matter how you manifest the Cold, it is clear that you do not like this pesky raven one bit. The Nightmater -> Wraith route shows this through Paranoid's constant suspicion of the Narrator. This distaste frequently, thought not always, occurs due to the Narrator attempting to force you to live out your life in the void, though it can also occur due to the Narrator attempting to make you live a life without the one thing you cherish (Damsel route).

Apathy towards most things, but one thing's for certain: You don't trust that Narrator guy. He tried to make you live out a crappy, boring life for eternity.

Cold's attitude makes sense when you look at how he was created. Just like Smitten was made by deciding the princess was an immediately trustworthy damsel in need of rescuing from the pesky narrator, or that the witch is a gorgeous woman whom you can save by giving your blade in spite of the narrator's wishes—Cold is made through deciding that neither your nor the princess's safety particularly matters, but fuck that narrator guy. He sucks. As apathetic as the Cold likes to act, he reacts to Smitten's threats and the Princess's murder attempts with "interesting", and reacts to the Narrator's explanation of the timeline with "we should kill him".

So, my point?

Well, I think that—not only does the Cold hate the Narrator—but hating the Narrator is part of him as a voice. He's cold, apathetic, and he hates the Narrator. It's been baked into his very being through the choices that you make. The princess doesn't matter, your physical well-being doesn't matter, but know that the Narrator is an untrustworthy little prick.

TLDR: Replaying Wraith made me realize that the Cold probably hates the Narrator very very much, and he does so because it is baked into his very being because of the choices you made to manifest him. You go, king. Let your inner hater run free.

[fuck-you-upmusicbracket]

It's the fuck-you-up-music-bracket finals!!!!

Let's find out the true fuck-you-up anthem of tumblr!

Hallelujah (Leonard Cohen)

You say I took the name in vain/I don’t even know the name/But if I did, well, really, what’s it to ya?/There’s a blaze of light in every word/It doesn’t matter which you’ve heard/The holy or the broken hallelujah

Maybe there's a g-d above/but all I ever learned from love/was how to shoot somebody who outdrew you/And even though it all went wrong/ I'll stand before the lord of song

"The swelling instruments and the song’s loneliness paired with the backup vocals on the chorus really get me. Plus the messy and detached relationship with G-d"

"the hopeless! the doubt! the pain!dude's saying that everything might have gone to shit but that won't stop him from presenting himself to GOD THEMSELF, WITHOUT SHAME, bc LIFE IS HARD AND HE LIVED IT ANYWAYYYYYYY"

Fast Car (Tracy Chapman)

You got a fast car, I want a ticket to anywhere/Maybe we make a deal, maybe together we can get somewhere/Any place is better, starting from zero got nothing to lose/Maybe we'll make something, me myself I got nothing to prove

So I remember when we were driving, driving in your car/Speed so fast, I felt like I was drunk/City lights lay out before us/ And your arm felt nice wrapped 'round my shoulder/And I-I, had a feeling that I belonged

You got a fast car/Is it fast enough so we can fly away?/We gotta make a decision/Leave tonight or live and die this way

"I know it's an obvious one but YOU try playing it without crying I dare you"

"I cant explain the yearning but this makes me howl"

"OH GOD the longing!! The yearning in the recurring central image of the narrator and her lover on the highway, feeling this sense of limitless possibility and incredible hope!!! And then the verses take us with brutal efficiency through the collapse of their marriage, the way that the cycle of poverty stomps down on their hopes, and how with nothing left, the narrator does what her mom did and leaves!! Leaving the kids to experience the same thing she did growing up!! But it’s all punctuated and bookended by these callbacks to that central iconic memory of hope!!!!! But by the end we realize that the last line “leave tonight or live and die this way” offers only the illusion of a choice: when the narrator first runs away and later when she leaves her husband and kids, she’s still fulfilling her role in this cyclical generational story. God!!"

[totally-here]

Post Gotham war Jason and post GIW Danny scrap

Jason is laying on the ground. He can hear water running to his right and can see his parachute tangled in trees overhead. 

The explosion must have sent him farther away than he hoped. His back hurts from the landing after he disconnected from the parachute. His hands are still shaking from residual adrenaline that in turn makes his throat constrict in fear. 

Fucking Bruce. Of all the things he could’ve done to break their cycle. 

Because that’s what it was, wasn’t it? A never ending cycle of them fighting over morality, making up, then fighting again without any real progress being made. The Joker’s still kicking in one way or another, and Jason still doesn’t talk with his family much outside of vigilante activities. 

And now he won’t even be able to go out as Red Hood, because his own fucking adrenaline will immobilise him with fear. 

Jason never should have tried to work with Selina. He’s self-aware enough to admit that. It was stupid, trying to mess up her operation from the inside after realizing just what she was setting up the goon workforce for, even if it wasn’t her intention. She was only letting him work with her to shove it into Bruce’s face, anyway. 

Because that’s all Jason will ever be to them. Batman’s biggest mistake. A Robin turned corpse turned mass murderer. Like he hasn’t been actively not killing people for at least a year now. Hasn’t shot a gun in months. 

And yet here Jason is, trying to tell if his ribs are broken without moving. His ears are ringing faintly from the collision with the meteor and then the explosion at the observatory. 

He ditched his comm to Oracle and the rest of the bats earlier, and the batwing is one with the wreckage now. But there are cameras everywhere in Gotham. They would see he got out, and probably send someone to pick him up. Maybe. 

Jason doesn’t know if he can stomach looking at his family right now. Not when he can still feel the effects of whatever Bruce stuck in him in the back of his throat, in the back of his mind. It’s like he’s been flayed out, all his scars and weaknesses on display. 

“Hey man, you okay?” A man steps into Jason’s vision. Around his age, if not younger. His eyes that verge on the edge of uncannily blue have deep eye bags, like he hasn’t slept in weeks. He looks at Jason like one would a particularly uninteresting bug. Jason shivers.

It takes a few tries for Jason not to swallow his words. As it is, he still slurs on the swear. “Just fucking peachy.” 

The guy raises an eyebrow, looking very doubtful. He looks Jason up and down, then sighs. He rights himself from leaning over and runs a hand through his long black hair with white streaks in it. It’s choppily cut, and not in a tasteful way. It’s like a five year old found scissors for the first time. It’s annoying how it actually works for the guy. 

“I have a first aid kit in my truck, wait here,” He orders, then walks off to the left. Jason turns his head to watch him. There is a small white truck parked to the side of a road that no cars are passing through. The guy opens the back door and digs around, then emerges with a white box. 

He kneels on the grass next to Jason and slowly reaches out to help him sit up, narrating as he does. “I’m gonna lean you against the tree so that I can get a better angle for your forehead.” He does that, and Jason realizes that yeah, his forehead is bleeding. Maybe he snagged it on a branch on the way down, or maybe it was debris. “I’m going to disinfect it, brace for the sting, I guess.” 

It does sting, but Jason doesn’t flinch away. It’s not the exhaustion from the back to back panic attacks that’s calming him. He knows what that exhaustion should feel like, this is not it. As the guy gently washes off the blood from Jason’s forehead with wipes and presses bandaids onto it, he feels like he’s being enveloped in a warm hug. 

“Why do I feel safe with you?” It stumbles out before he can stop it. The guy doesn’t stop inspecting Jason’s arms for cuts to answer. Only when he finds traces of burns to wrap against infection does he say anything. Jason’s too warm for a November night. 

“Well. There are two options. Either you’re concussed, or you’ve died before.” Jason takes in a sharp breath, but the guy doesn’t seem to notice. “Oh, three, I guess. Since it could be both.”

“I don’t feel concussed," Jason says. And he doesn’t. Maybe slightly dehydrated, but his head doesn’t hurt and he’s not nauseous at all. The slight slurring is just because he’s tired, probably. 

The guy hums, leaning back to check his handiwork. There’s bandaids on Jason’s forehead and bandages along his arms. He closes the first-aid kit with a snap and stands to his full height. His face is haloed by the full moon behind him. His eyes reflect in the light. “Guess it’s option two, then. I was leaning towards that, anyway. Once Deads tend to have that effect on me, and you do give off Realms Touched vibes.”

The guy offers a hand, and Jason stares at it for a moment before taking it. It’s like touching an ice cube. “I don’t know what that means.”

The guy pulls him up easily, despite being built like a broad-shouldered twig and at least five inches shorter than Jason. Probably a meta, then. Or maybe magic. The guy lets go of Jason’s hand to run a hand through his hair again. The motion brings attention to the layer of scar tissue around his left eye. Likely scarred over in the past month or so. 

“Yeah, my bad. Should’ve assumed. Um, short version: I have what amounts to a biological need to help peop-” He stops, purses his lips, then starts again. “To help the undead. And that stretches over to you, I guess.”

“And the Realms Touched thing?”

He shrugs, not looking at Jason’s eyes, but up at his hair. At the white streak sticking out against the black. “Let me guess, you had an encounter with some green not-quite-liquid stuff sometime after you died?” Jason nods once, slowly. “Yeah, that’d do it. The green stuff’s from the Infinite Realms, and doing stuff with it kinda marks you for people with an eye for it.”

“People like you?” Jason narrows his eyes, but it really does seem like this guy is telling the truth. That this is just some weird coincidence that the spooky guy (who cannot be local. Jason might have ditched the mask, vest, and gloves, but he still has his padded shirt with his symbol on it. No true Gothamite would dare to approach the Red Hood with medical supplies) just happened to stumble upon Jason. The complete blasé attitude he has toward the pits helps. A League devotee would be more reverent. 

The guy tilts his head to the side, his face scrunching. “Technically, yeah. I meant more, like, formal magic users. I’m… different?”

“What are you, then?” 

“It’s complicated?” As Jason’s unimpressed look, he tries again. “I’m, I’m kinda like a protector spirit and a psychopomp rolled into one? But, a psychopomp that’s not good at their job.”

Jason gets the feeling that that’s the best explanation he’s going to get out of this guy. He’s already shifting away, looking past the trees and at what’s probably Gotham proper.

“So I have a sense for dead things. ‘S actually why I ended up coming through here. Something that felt like a meal was coming here, but now it’s faded.” He points past Jason, and he follows his finger, moving to face the green smoke rising from the observatory, glowing in the night sky. “You know what happened?”

“Big fuckin’ meteor,” Jason mutters. The smoke is dispersing slowly but surely. A news helicopter is already buzzing around the observatory site. 

“Sure, why not?” The guy mutters back. His eyes flick to Jason before jutting a thumb backwards. “Welp, I’m gonna get back on the road. You need me to call someone for you or something?”

Jason thinks about it. He could call someone to pick him up, or check in with Rose. But. That would mean eventually going back into Gotham. Back into the fire. Back into a city that’s being overrun with thieves he had helped support. It’s not shame that stops him, but fear. 

Fear that if he goes back, it will just start the cycle again. That it’ll just take another form, but he’s just going to be stuck fighting. He’s always fighting, has always been fighting. If he goes back and he starts fighting again, it will never stop. Fear lodges into the back of his throat once again and Jason realizes that he might not be able to fight like that anymore. 

And standing outside of Gotham, seeing the smoke coming out of it color the same as the Pits that still haunt him, Jason thinks that maybe fear and fighting are all he has left. 

He wonders what would happen if he let himself lose those, too. 

“Actually, which way are you going?” Jason asks the guy, who squints at him.

“North.” 

“Sounds good.” Jason spins around and walks determinedly towards the guy’s truck. The guy stutters and hurries to catch up to him.

“Wait, what? You’re just gonna… come with me? Are you sure you’re not concussed?” He says, but stops at the driver’s side door and just watches as Jason slides into the passenger seat. 

Jason smiles at him, all teeth. “Come on, Charon. Aren’t psychopomps supposed to lead the dead to their next destination?”

The guy just looks at him for a moment, then opens the driver’s side and slides in. He glares at Jason, but it doesn’t feel like there’s any real dissatisfaction behind it. “You’re not dead now, and I told you I’m bad at my job.”

Jason shrugs and swings his feet onto the dashboard, ignoring the guy’s disgruntled and insulted look. “Then you’ll get some on the job training.”

“I’m on the run from the government. This isn’t going to be a fun adventure, dude.” 

That does make Jason pause. But he also knows the government. “What’d you do?”

He scoffs. “Exist. Fuckers think they’re entitled to my organs. For science, they said.”

A victim, it sounds like. Hell, maybe even a clone. Not likely to be a criminal. Jason shrugs and shimmies more into the seat, making a show of getting more comfortable. The guy frowns, then closes his door. 

“You know what? Fine, guess I’m doing this now. But we gotta set some ground rules for this roadtrip, okay?” He points at Jason with his left hand, leaning over a little in what could have been intimidating if he didn’t look dead on his feet. Jason recognised the faint lichtenberg scarring on his finger. Recently electrocuted, and badly. “First, get your dirty ass boots off of the dash.” Jason obliges. “Thank you. Second, seatbelts stay on. I know how I drive, and it is not good.”

He emphasizes his point by buckling himself in and glaring at Jason until he does the same. 

“Third, um, I don’t have a third one.” He drums his fingers on the steering wheel. “Oh, tell me a name I can call you. Yeah, that’s the third.”

“Jason. What’s yours?” He should have hesitated. All bat protocol for getting into unmasked situations with a stranger determines giving a fake name, and to not even think about anything close to real. But he doesn’t. It doesn’t matter. This guy clearly doesn’t know who Red Hood is, if he doesn’t recognise the symbol, so Jason doubts he’d recognise the first name of Bruce Wayne’s dead son, and then connect the dots. 

“Danny.” Danny starts the truck and pulls back onto the empty road. It must be two or three in the morning at this point. Maybe later. “Hope you have an enhanced ID, ‘cause we’re going to Canada.”

Jason, in fact, does. Not one that has his name on it, and it’s for New York, but the picture looks similar enough.

~~

So the original idea for this was they head to a cabin aunt alicia has in canada, but I got like 2000 words into this then realized i didn't have the motivation to continue, plus i wasn't confident about the characterization (i'll admit i read the gotham war event in a vacuum) so i just scrapped it. But!! I figure i would post it here in case someone else wants to take the idea and run with it :P

[heavysighing-dreamyeyes]

A Specter

Jason Todd is once again more or less an unreliable narrator (and a little dramatic, but he gets a pass for dying) ~1k

Jason Todd wakes up from death drowning, his lungs burning out of his chest. When he breaks the water, he will cough out sickening green that will claw its way into his nightmares. He will dig his jagged nails into the ground and gasp for air he is not meant to be breathing.

And when that is all said and done, he will only have one thought on his mind. Where are you.

Jason Todd rejoins the world as nothing more than a poltergeist. He haunts back alleys and rattles skeletons in the closest of anyone stupid enough to get in his way. He is a wraith, his visage screaming with nothing more than vengeance and bloodshed.

That is, until the night ends and his mask is left clattered to the floor of his barren safehouse. And then he will think of nothing but you.

It's pathetic, to be so attached to someone who doesn't even know he's alive. But that's the problem. He's attached. His dreams, when they aren't nightmares, are filled with your laughter and the memory your hand curled into his.

Jason Todd has not moved on from anything. He hasn't moved on from that warehouse. Hasn't moved on from his own incompetence. Hasn't moved on from the betrayal of those who were supposed to love him.

So he doesn't think he should be expected to move on from you. Not when you're the only anchor his lost soul has left. (This is an excuse, one he knows all too well, one he'll never acknowledge)

The thought of you seems to claw at his heels with every step, every breath he takes that isn't intended towards an effort to find you. He knows it would be easy, to find you. All he would have to do is look. But Jason Todd is a name meant for gravestones, and yours is a name meant to be written in light.

So, he cannot imagine, even in his most twisted desires and daydreams, dragging you down to where he rots. To the moments he starts to wonder, if he breathes too heavily– if he coughs too hard in the Gotham smog– will green water leave his lungs instead of air?

Jason Todd does not look for you, content satisfied accepting enough with the memory of you. His own private apparition that manifests into every part of his life.

(He sees your favorite color in the blankets he buys, lingers too long in front of your favorite flowers, orders your favorite foods, even if they were never his own)

He is stuck in his never-ending pattern of revenge that wails of a past still broken– anguished by the weight of things never fixed, words never said. He stares out through the white, glowing eyes of his mask that was made to strike fear and knows that this is all he will ever be.

The people he saves, the good and bad he does, the lives he takes, does not change that he is still drowning. He is still the boy sputtering emerald waters laced with a magic he doesn't understand. He is still the boy who came back to life with only you in his head.

But he is not the boy that held your hand with gentleness and hope. He is not the boy who smiled at you and promised to come home.

He is a ghost. A thing of memories bound to the present by hate and fury. He is wrongness and he is twisted, and he knows that if he did seek you out, he would only darken your doorstep with curses and decay.

So it's very much a problem when you grace his crumbling safehouse of the week with your presence.

He's not sure who tipped you off to where he was, not sure how you even know he's alive. But you're here, and there's nothing he can do but let you inside.

He doesn't remember everything you say. He doesn't even remember if he talks much. He just knows he's choking back that eerie, unnatural water in the back of his throat every time his eyes meet yours.

You shouldn't be here. But you are– were. You brushed your fingers over the back of his hand as you moved to leave. You asked to come back. That he remembers.

And, by whoever is listening, he said yes. He said yes and scribbled an address onto a piece of paper and pressed it to your palm.

He said yes, and he says it again and again, each time you carry yourself into his home that was no better than a morgue– a tomb to hold everything he used to be– he says yes.

You don't seem to care that he has nothing to offer but whispers of something that will never exist again. You do not mind that he is hardly more than false righteousness and thinly veiled wrath. You are fine with the fact that Jason Todd is supposed to be dead, but by some foul trick of fate, he is not.

No, you count him–the waters that made him new– as a blessing. It shocks him, the first time he hears it. Nearly makes him retch.

How could it be a blessing? How could the pain of feeling your bones snap into place, your muscles restitching themselves, your soul fragmenting apart and back together, be a blessing? How could knowing you do not belong and can never belong again be anything more than a blight?

It isn't. It can't be. It won't be.

Until one day– after weeks of pressing papers with scrawled numbers and letters into your palms– your fingers thread into his and then it is.

Something in him settles. Something haunted seems to fade. And not everything is perfect, but there is suddenly more than the past and shattered things. There is more to Jason Todd than an etching on a headstone, a hushed warning in a story.

There is a future, and Jason Todd suddenly finds himself to be more than a passing, vindictive phantom. With your hand in his, what rings in his head, laced with hope and something that was lost now found, is you. As it has been, and as it always will be, it is your memory in his head, your name on his tongue, you, in his heart.

[pi-creates]

I can’t stop being upset about Veilguard’s writing, and apparently the only way I can get it out of my thoughts is to put it down in words, so here we go…

I’m frustrated, I’m upset, and the longer I think about the way this game was written, the more problems present themselves… and I bloody hate that. It feels like a first draft writing effort, and every time I’m reminded that this game was in development for so many years, I cannot fathom this being the end result. Dragon Age 2 had 16 months of development, and it feels more cohesive and put together writing-wise. I can see the years of polish in the visuals, but the spectacle of the game doesn’t blind me to all the problems in the writing.

Naturally, these are personal opinions, I am genuinely thrilled for people who have played the game and enjoyed it – I wish I could be there enjoying it with you – but clearly these things get under my skin more and spoil the experience for me when they aren’t problems for you. And I also acknowledge there are genuine good parts of the game which I enjoy, but those moments aren’t enough to overshadow the negative experiences that irk me.

And because this post has apparently gotten away from me… I’m gonna put some headings to summarise the problems I’m having, because otherwise this is just a massive rant with no structure.

Show me things, stop just telling it to me.

So much of the game feels like writer’s notes where they put “what the player should take away from this scene” and instead of being creative with how they do that, they just say it verbatim. My immersion in this game was being broken by the game reminding me it’s a video game – which yes, I know it is, but I want to be invested in this world and feel like I’m part of it.

Varric and the game’s own pop-up system is the main problem that’s consistent through the whole game – constantly dropping narration or mission summary where they have zero problem dropping exposition on us and/or spoiling future content. Forget letting me explore these things and reach my own conclusions, the game is going to make sure I know exactly the interpretation I’m meant to have for every moment.

And it’s so damn frequent, I feel like they don’t think I’m paying attention and therefore need to constantly poke me with reminders instead of trusting me to reach my own conclusions. Do they not trust me to have an attention span long enough to go on a walk with Davrin without reminding me at the end of the walk that I did that?

To add to that problem, I absolutely hate how the writing just has people know things – they shouldn’t know this, they shouldn’t be talking to us about this, all evidence points to them not being able to know or be ok discussing this, but for some reason they do.

The Veil Jumpers suddenly just know how to translate and interact with ancient elven artifacts, ignore how the Dalish have been trying to do that since the fall of the Dales (and realistically, even before that) and their efforts over those hundreds of years were a scrap, a pittance of what could be known. But I guess the Veil Jumpers are just better than those hundreds of years in the few years they’ve been active.

Oh, and the scary reputation of the Dalish is just gone? These people just go to the elves they have deemed “savages” because they simply know these ones have good intentions? This world has been established as very untrusting of the intentions of other groups, but that’s simply gone now for this one – I wish I was shown how this started in some way instead of just being told it’s chill now.

And don’t get me started on Strife and Irelin and their seemingly endless knowledge that they shouldn’t have. I read the comics, I get that they’d probably know about the Dreadwolf and have a vested interest in learning more once that particular bit of information was revealed to them – but they somehow also just know about the mask Cyrian is wearing? They know it will influence him but not control his will? Why do you know this with no doubt whatsoever?

Why can’t these things just be presented as theories? Or give us something to find and reference where that information comes from? I want to learn things without just having characters tell me things they know.

And overall, I hate how this game decides to just exposition dump information on us, then we sit around and talk about the exposition dump – it’s overwhelming in magnitude. It feels like such a passive way to have us engage with everything, and this is supposed to be an interactive experience. Instead of being force-fed exposition in big chunks, drip feed details, let us put the puzzle together, let us gather and discuss what we learn with multiple interpretations like the RPG this is meant to be.

And this exposition problem also ruins the stakes in the game for me. Personal interpretation, probably, but the stakes in this game feel artificially inflated to me via having characters constantly tell Rook they are going up against the biggest threat ever. We bring in past heroes of the series to reiterate that, how they think we’re up against worse things than they faced… and I don’t feel that. Telling me constantly how hopeless things are, but every obstacle ends up being overcome relatively easily and without great losses… no, I don’t feel the stakes are real.

Oh, and hearing the talk of how all of Thedas is in trouble, there is so much destruction and only Rook can save them… why don’t you find a way to show me that? Because I’m not feeling that, I’m not seeing it, and I’m starting to think the Inquisitor is making stuff up so Rook doesn’t ask them to get involved again when they’re so busy.

This is a lore problem in the series…

Plot holes and wonky lore can happen, it’s not surprising… especially when there are three games prior to this as well as several books, comics, and other branches of the universe. There have been inconsistencies since the start, and a lot of it doesn’t matter – I don’t care if the second moon is forgotten about, the moon not being there isn’t going to make a problem with the way the story is told since that moon is never something elaborated upon in the plot.

This game though… it has problem that are both related to information in this game not being consistent with previous games, and information within its own contained plot contradicting itself.

I’m not going to beat the dead horse of “this isn’t how the previous games did it/explained it”, people who played the previous games are aware, I don’t see a point of elaborating in detail all the instances of this. Just take some dot points of the one’s I noticed:

The Crows are a horrifying organisation that are suddenly presented wholesome

The Qun offering to rehabilitate Karash is horrifying and it’s presented wholesome

Slaves are meant to be everywhere in Tevinter, but we don’t see that

Racism is supposed to be rampant in Tevinter (and other nations, but particularly here for any non-human), and we also don’t see that

Handling pure lyrium is fine now (unless you’re Harding)

Adult Dalish without vallaslin (Elgar’nan’s captives)

Fenharel’s agents are just gone now – as are all signs of mass elven exodus from cities

Solas’ opinion on blood magic is suddenly negative instead of neutral

Spirits dying is given the same weight as people dying

Flemeth…….just everything about Flemeth and Morrigan

Re-write of the after credits scene in Inquisition to recontextualise the Flemeth and Solas interaction

Isabela’s attitude towards Shathann sending Taash away without their knowledge (the comics make me doubt she’d be cool with this)

Non-Dalish elves knowing things about ancient elves and elven language

Blight sickness and how darkspawn are “born” (some leeway for this one since the blight is overall just different in this one, but it does feel less interesting this way)

Morrigan naming the Crossroads in lieu of the true name being lost to time, but everyone uses the term now

Crossroads looking different through elven eyes

You can’t just make people be magic/not magic (me side-eyeing Illario and his random ability to do magic now)

This is a contained problem in this game…

What troubles me more is the inconsistencies within the same game… that isn’t just deciding “this is how it works now in this iteration”, this is a problem that they wrote into existing, then either didn’t notice or didn’t resolve appropriately. And granted, some of these things aren’t inherently plot holes, but when you put certain aspects under inspection, it doesn’t make things look good.

For starters… I have to talk about Varric. Or more accurately, not-Varric.

I’m under the impression that not-Varric is simply Rook’s memory of Varric being projected for them. I personally don’t think there’s some extra level of Solas interference in what Rook is seeing moment to moment… and I feel the need to state that because Rook’s memory cannot conjure up information that Rook doesn’t know.

So why does not-Varric point out that the ritual dagger is the dagger from DA2?

Rook could not recognise it, there is absolutely no reason for Rook to even theorise that – so not-Varric should not be able to impart this knowledge to Rook. And what makes this worse for me, aside from being an impossible situation as the plot presents it, is that this observation doesn’t matter in the slightest. They put this backstory to the McGuffin Dagger and I don’t know why since all it does is create a plot hole. The only purpose I can see for this moment existing at all is to bolster the illusion that not-Varric is real and trying to help with the cause in whatever way possible.

Then there are other issues with Varric not being alive which makes other character’s lack of talking about him feel awful. Like, it’s not natural the way people avoid mentioning him when it would be very appropriate to do so – and I understand that to an extent, the game’s gotta game – they want to surprise us and therefore the characters aren’t going to blatantly give the surprise away early. But the Inquisitor doesn’t ask after him at all? Doesn’t mention how Kirkwall is coping now that the viscount is dead? Dorian doesn’t say anything after learning Varric found Solas in his city and then died? Isabela has nothing to say about Varric until after the illusion is broken for Rook?

It makes it feel like Varric’s friends (aside from Harding, the only person who seems to actively mourn him at the start of the game) don’t give two shits that he’s gone.

That’s not even accounting for how characters don’t bother to check in with Rook who is constantly talking with the companions about their various issues of mourning, hearing voices or apparitions, and just checking in with them overall – but none of that is seemingly reciprocated.

Frankly, this makes me feel awful. I feel awful for Varric being seen as so disposable that his friends don’t mention him or his absence. I feel awful for Rook who is apparently not worth the direct effort that they offer others.

And I try to think of how a new player to this series would feel about all of this – because Varric was just some guy who walked us through a tutorial in this game. Most of our time with him is fake, any connection I saw form between Rook and Varric in this game isn’t real – but then Rook mourns Varric more than he mourns the companions we have spent most of the game with.

I don’t like it.

And I don’t like the utilisation of returning characters. Morrigan, or as she’s utilised in this game deus-ex-Morrigan, has a new view of Flemeth and therefore she will take on Mythal’s soul fragment so she can again swoop in and save the day by handing us the means to get a reconciliation type ending… it couldn’t be something that characters in this game figure out, just have a returning character provide us with the magic solution. Also ignore how the whole reason Morrigan was afraid of her mother in the DAO and DAI was that her body would get taken over by her spirit… but I guess that doesn’t happen now. We can just create new rules for this iteration because it’s easier to tell the story this way.

Solas is also just… I’m so upset by what was done with him. He was a character in DAI who told half-truths or lied by omission, leaving others to assume false information without him actually saying it – it was never just blatant lies to take advantage of others. And his motivations were about restoration of something he felt he had robbed the world, it was about righting what he viewed as a mistake which lead to such a cascade of problems that he needed to somehow rectify it. Whether you agree with his point of view or his desires doesn’t matter, his principles remain the same in terms of what motivates him.

Then this game happens and he’s just a liar constantly, and not even a clever one if you can apparently just trick him up with a “woopsie, this isn’t the real dagger”, and he also apparently has no insight into the idea that Rook would anticipate that.

They make him act like the worst interpretation someone could have of him, the thing he actively was trying to tell us was a false interpretation in DAI and the comics. But history was written and remembered by those who experienced the negative outcomes of his choices, and they remembered that as the greatest evil in comparison to what else could have been. But apparently in this game, that’s the truth now. His motivation is about his desires and he cares nothing for the people who has hurt or will be hurt. But it’s ok, because just as easily as his motivation changed between DAI and Veilguard, it will be changed again at end game if you listen to deus-ex-Morrigan.

Then there are smaller things, but things that really would have been caught if someone was just paying a little bit of attention…

Like Harding and Emmrich going camping in Fereldan… which if we’re to believe the things the Inquisitor was saying about Southern Thedas, I don’t think you’re going to have a fun trip. But I’m glad they’re able to find some time for a vacation while the refugees are getting blighted all over.

Or Rook actively saying “I should talk to Varric” directly in front of characters in the lead up to end-game, and those characters choosing to completely ignore that.

Or in Neve’s companion story, Aelia deciding to interrogate the witness to the red lyrium deal right next to where it happened. She didn’t need to be in the area, she was puppetting the smuggler, and she clearly has insight into what the person is seeing and doing while puppetting them. So I guess she’s just there so we can figure out she was involved.

Or the game telling us that Anaris need Cyrian to perform rituals for him since Anaris doesn’t have a physical body to do them himself… except he apparently doesn’t because he can kill Cyrian when he disobeys. I still would like to know if Cyrian ever died originally, by the way, and if so how he’s back and seemingly normal – this game likes to answer big lore questions like it’s nothing, but they just gloss over details like this.

Or how in Emmrich’s missions, Manfred’s spirit dies and can just be brought back to life… so I guess spirits dying means nothing if they can be brought back with their memory and personality intact. So that Solas flashback where we were supposed to be appalled that spirits died? Apparently there was nothing lost there, someone just needs to revive them and they can carry on as normal.

Or how the rewrite of DAI’s ending cutscene implies that Solas killed Flemeth/Mythal… before he had the power to do so since the whole reason he has been able to do anything in this game is because he absorbed her amassed power. So Flemeth/Mythal would have to let her power go willingly since Solas should not be able to forcibly take it, but clearly, she didn’t since the dialogue we’re given is her being reluctant. Solas apparently has the power he needs to do things when the plot demands it, but also no power when the plot demands it (aka, when Rook needs to prove they’re better than him).

Or the crew making a fake Ritual dagger near end game. For no reason whatsoever. They just decided to do that knowing it would only be a prop, but they had no plans that even involved a prop at that point – so they just did this because the plot told them they had to.

And speaking of that Ritual dagger… all the old elves want that dagger for one reason of another, but they never seem to try to get it when they can, or they don’t seem too concerned when it’s not in their grip anymore. Solas doesn’t try to hold onto it after Varric gets stabbed. Elgar’nan doesn’t try to pick it up after it kills Ghilan’nain, in spite of him knowing it’s the one thing that can kill him… nope, just leave it there and peace out.

Or my personal most hated thing – Isseya and her stupid motivation making no sense.

I cannot fathom the logic of having Isseya, a warden who was forced to blight griffons, who came to resent this order as she watched the griffons go mad, made it her mission to safeguard a clutch of eggs, takes the blight from the eggs into herself while using magic to put the eggs into status, then goes off to her calling which doesn’t actually end in her death… and somehow, 400 years later, she’s decided that since those eggs have hatched and the griffons are healthy and unblighted, the thing she wanted, but they’re in the hands of wardens which she doesn’t really like, so now she’s gonna go get those griffons to blight them.

Literally doing the thing that made her so mad at the wardens. Because she wants to save the griffons from the wardens and their cruelty… by repeating it… I just… this is nonsense.

If she’s capable of articulating that she’s mad at the wardens for their cruelty to the griffons, then she shouldn’t be repeating it thinking she’s saving the griffons. If she was just keeping the griffons captive to keep them away from the wardens, then I could buy that, but adding the element of her wanting to blight them just makes this nonsensical.

Oh and never talk the First Warden down – it will make the final scenes with Isseya even worse if he tells you about the feather from her griffon and show it to her. Because I don’t even think Isseya dies in that variant of the cutscene, she just says sorry and rolls on the floor while I guess Rook and Davrin let the griffons out…

Who is Rook?

Usually, in a game like this, choices are what make us feel like an active participant in the world. It helps us build up our own character and determine how/why they behave the way they do, and also how the world around them is shaped by the consequences of those moments.

But this game feels so stripped of choice, especially choice which is any way related to morality or priorities that aren’t standard ‘Hero traits’. Rook will always do the right thing, they can’t be motivated by personal desires, excitement, monetary gain, fame, etc…. and when Rook is forced to make a choice, there is no option which would be looked at as unreasonable by companions. They might give us an approval/disapproval pop up, but it never really feels like Rook is capable of being incompatible with anyone, they will always be seen as justified in companion’s eyes. And to me, this makes Rook as the game presents them incredibly bland.

Most of Rook’s unique characterisation happens in the character creator – the game gives us minimal chances to expand or form a personality for Rook that is significantly different from any other person who plays the game. We do the heavy lifting here, we transpose qualities on Rook because the game won’t give us meaningful opportunities to do that.

And not only do I feel like the game lacks choices that would help us define Rook, it lacks decisions that make me feel like I’m having any impact on the world overall. I can defend Minrathous or I can defend Treviso… this is the one choice we make which seems to actually shape the world we play in.

And it doesn’t even come up as something Rook can regret in the sequence about regrets… Rook apparently is faced with only regrets that are the result of other people’s decisions to volunteer to do something. But the one thing where Rook actually has to actively choose something, something they are actually responsible for the suffering on the side they don’t defend… that isn’t something they can regret.

What the hell is that supposed to mean? Surely, if Rook should regret anything it should be the thing they feel direct responsibility for, no? But Rook doesn’t. Because Rook doesn’t regret anything they do, because they aren’t written with choices that they can regret since they aren’t seen as responsible for negative outcomes.

Honestly, that sequence might as well have been about mourning or sadness rather than regret, because Rook has to be upset at the loss of companions, we don’t get to influence that. But Rook isn’t regretful – that’s how they get out – but I can’t help but wonder why they didn’t then make us able to actively regret the legitimate choices we make, rather than feeling regret for our companions deciding to risk themselves.

Rook feels like an outside observer to everything that happens around them. They are the mediator, the sounding board, the magic-8-ball for decision making when companions need a push because they’re stuck. Sure, they do things, but for an RPG the way they go about things feels so linear.

And on another note… why is Rook seen as important? They start championing Varric’s cause in his absence, they want to stop the veil coming down and that starts with stopping Solas, then stopping Elgar’nan and Ghilan’nain. But to the outside observer, Rook is just some guy who says they are on an important missions, and they really need to speak with all these important leaders of factions – just trust them, I’m sure the First Warden is happy to make time for a meeting. And also the First Talon of the Crows, I’m sure they are fine with just some foreign person saying they need to meet your leader.

What I’m trying to get at is that Rook has no title, your group isn’t given any proper title or status which these people can look at and assume Rook is being truthful, trustworthy, or even worth their time. No one has any reason to hear Rook out, but in this game, they either just do, or they don’t and it’s because they’re actually a bad guy.

But Rook is no one special. They realistically shouldn’t be trusted like they are, they should absolutely be struggling to be taken seriously by others but it’s portrayed as unfair when that does happen. But they’re the protagonist, and it’s like everyone in the world simply knows that. I want Rook to struggle, I want them to grow and prove themselves, but it feels like we skip passed that to get straight to the fantasy of being in charge and considered fit for that role. 

Pacing and feeling like something was missing…

The start and ending throw a lot at us and expect us to keep on running – but then the middle portion of the game suffers due to the companions putting a stop sign on the plot so you can do their companion quests. And they aren’t shy about telling you “you need to stop and do our quests or we’ll be distracted at end game”… and again, thank you game for explaining game mechanics to me.

I was going to complete character quests, because if I care about the characters of course I’m going to do that. Having to actually pause the plot and have the characters explain to you that you have to care… I don’t know how to explain this, but it immediately took me out of the fragile immersion I was trying to get into. It makes me upset with the companions for reasons I can’t put into words. Maybe it’s because in one fell swoop it made me see them as checklists to be completed instead of people I wanted to know? I’m not sure, if someone had a similar reaction to this moment and has a better explanation, I would love to be enlightened on what it is that makes me so uncomfortable about this.

But I digress, the problem here is that the plot grinds to a halt. We stop doing things which feel like we’re advancing our plan of stopping the big baddies, we just kind of patter around and make sure our companions feel ok. And most of those missions to help our companions aren’t connected to the enemy we’re facing… Aelia, Anaris, Hezenkoss, Illario, The Dragon King, Isseya – they aren’t agents of the big baddies, they are just enemies that pop up at the same time as the big baddies are around, and are therefore making the situation worse.

So yes, we’re still doing stuff, but it feels like fluff. It feels like a detour while we just hope the world doesn’t burn while we stop to go on another picnic.

This is something that happens in a lot of games, the urgency isn’t real because you can stop progressing plot to go for a long walk if you want to – but in none of the other games did it feel so blatant to me. I still felt like most of the little tasks in the interim of plot advancement were at least advancing the cause in little ways… I don’t feel that with a lot of the things that happen in the middle of the game. It just becomes about companion missions; the bad guys will wait until we sort that out, the blight will stop advancing so we can have family dinners and go for walks.

And I really don’t know how to explain this, but it feels like something is missing in how the story progresses. Like extra things were meant to be happening and they are just not there. Maybe this is another part of how the game often just tells me things that happen in scene transitions, or it’s me really wishing there were more actual plot advancing missions in the middle of the game.

This problem I think also is most evident in the romances. Veilguard seems to take its romance pacing more from the Mass Effect games than the previous Dragon Age games – and while it was acceptable in Mass Effect to have very few romance scenes, and predominantly only having one big scene which culminates at end game, but suddenly introducing it in this series makes it feel like a huge downgrade from previous instalments.

It feels like we’re missing things, we’re given banters by companions commenting on the progress of our relationship and our partner can talk about how close they feel to our Rook – we’re given the impression our relationship is strong and established midway through the game. But with how strong the characters talk, it feels like we should have experienced so many more interactions with our partner to substantiate that.

For comparisons sake, in DAI if you enter a romance prior to going to the Winter Palace, you get romantic dialogue with your partner if they’re present, you get a dance, you get to feel like you’re in a relationship as it’s developing into something deeper. You get more interactions as the game goes on, moving from spoken interest, kisses, and intimacy (in most cases). It’s a slow build, and let’s you feel the build up by giving you glimpses of each step as the relationship develops, and then letting you just experience being in the relationship.

This game feels like it gives us the bare minimum in actual content, but has characters talk about how established the relationship is. The heavy lifting is again left to us to interpret all these blank spaces and fill in how this relationship is developing. The problem isn’t inherently with what the game gives us, it's what it doesn’t.

It lets us choose a relationship in the middle of the game, then it doesn’t give us all the progression – rather it gives us the minimal amount of snippets to meet the checklist of “they express interest, they mutually agree to be in a relationship, the relationship is consummated physically”. Sure, we can continue to pick flirt/love based dialogues, but it doesn’t feel nearly as strong as the banters seem to be telling us it is. And over all, we can go a very long time between each progression point.

I love this franchise, and I so desperately wanted to like this instalment… and instead I feel hollow.

[knockknockitsnickels]

~✨IMAGINE✨~ You're at a Christmas party. You need to go to the bathroom. You need someone to watch your drink. Whoever could you ask? Observe. Explanations below the cut.

S Tier

Shifty: It's a little beneath her, but sure. She can just get one of her multitudes to watch it until you get back.

Princess and the Dragon: Absolutely. Also could possibly use the weird fusion thing she's got going on to give you live updates on how your drink is doing.

Hunted: Protects your drink with his life. Hisses at anyone who gets too close.

A Tier

Prisoner: Pris is already just sitting blankly in the corner, she doesn't mind doing that and also watching your drink.

Base Princess: She's happy to help, though I could see her getting a bit impatient if you take too long. Still probably one of your best options.

Thorn: Thorn is surprised you trust her and promises to make good on that. If she perceives a threat she swallows your drink whole, glass and all.

Hero: Hero's a nice dude who would probably be happy to watch your drink for you. That said he also strikes me as the kind of guy to forget it's yours and absently take a sip of it.

Spectre: She's happy to watch it for you, but she's also incorporeal, which might hamper her ability to do so. That said, she can probably just de-heart anyone who tries to mess with it.

Adversary : Takes protecting your drink as a challenge and her sacred duty. Beats up anyone who approaches her while she's holding it. Probably spills it everywhere in the process. It's the thought that counts.

B Tier

HEA: She'll probably be happy to watch it for you if you ask but also like. This party is HER moment. She is living her hot girl summer this winter and you should really just leave her to it.

Broken: Likewise with broken, he's not a bad option but you should probably let him have a night off.

Wraith: She's a little annoyed you asked but Wraith strikes me as a girl's girl. She'd probably watch it for you.

Narrator: He's SO mad you asked. "You're not here to have fun, you're here to slay the princess!" (he'll still watch it for you, but he'll complain the entire time).

Fury: Fury gets bored while waiting for you to come back and starts atomizing your drink. She reassembles it before you return but it still tastes a little funny.

C Tier

Stranger: As she exists in her route, probably a bad idea (she's got a lot going on). As the heart princess, however, she's one of your best options (more eyes and hands = extra attention being paid to your drink).

Wounded Wild: She's like SUPER touched you trust her enough to ask but regretfully informs you that she doesn't really have hands to hold it with.

Cage: Cage just leaves her head at a table to watch your drink while the rest of her body does something else. She can't really stop anyone from messing with it but at least she's keeping an eye out for you.

Paranoid: On the one hand he's suspicious of literally everything which might make him a good choice, but on the other hand I feel like he might work himself into a panic attack while you're gone. I'd rather not do that to him.

Damsel: Of course she'll watch your drink for you, if that's what would make you happy! She puts in an honest effort but she's also probably going to forget it on a table somewhere.

The Long Quiet: TLQ is basically just you so idk, what would YOU do? 🤨

D Tier

Cheated: Agrees to watch your drink, then immediately trips and drops it on the floor.

Stubborn: Stubborn's kind of a tossup depending on his mood. If he's already doing something else he's probably not going to help you (additionally, even if you do convince him to help there's a very real chance he'll end up using your glass as a weapon in a bar fight).

Den: Smacks it off a table in typical cat fashion. Seems to feel pretty bad about it after, but doesn't have any money to buy you a new one.

Smitten: Ditches your drink to go flirt with the nearest princess.

Nightmare: It's near impossible to ask, since you can't get close enough to her without your organs shutting down (that said I think she'd probably be cool with it).

Skeptic: I this with love but given Skeptic's track record I think there's a high chance he'll get distracted by some other mystery and forget all about your drink.

M.O.C: Has many arms with which to hold and protect your drink, but also lacks a face with which to watch it.

Wild: Fuses with you into one ultimate being. Now *we're* going to the bathroom.

E Tier

Apotheosis: As you approach her outside (she can't fit in the building) your drink is pulled from your hand by her gravitational force and floats away. You're not getting it back.

Contrarian: While you're gone he dumps your drink out on the floor bc he thinks it'd be funny. He immediately feels bad about it and goes to buy you a new one but he doesn't actually know what you had before so he just ends up getting you a coke zero.

Drowned Grey: When you return, the contents of your glass have been replaced by a strange, murky liquid. It carries a faint scent of blood. You ask her what it is and she vanishes with a mysterious smile.

Eye of the Needle: Smashes your drink on the ground and demands you fight her in the parking lot.

Cold: Takes your drink, then leaves it on a table and watches from a distance "just to see what happens."

Tower: Downs your drink while maintaining unbroken eye contact. Claims she thought you bought it for her. Obviously lying.

F Tier

Beast: Swallows your drink whole. She gets broken glass stuck in her throat and you have to take her to the emergency room.

Razor: Your glass slides out of her knife hands and shatters on the floor. Then she skewers you.

Witch: Throws your drink on the ground, laughs at you, then steps on some of the broken glass while trying to walk away. That's another emergency room visit.

Burned Grey: Before you can ask her anything, she sets the both of you and the entire bar on fire.

Opportunist: I don't think I need to explain why asking him is a bad idea. He gives your drink away to the first person who asks. Actually, they probably don't even need to ask.

Anyway have fun and be responsible this holiday season also feel free to add any additions/corrections you have, bye.