#for all the characters who are named either the same thing or the same thing in a french accent

[sarahreesbrennan]

I remember reading in one of your blog entries (years ago??) that in the new book you were writing, the main character's *sister* had cancer. Does that mean that Alice was originally the main character of Long Live Evil? Was she going to go into the book to save Rae, instead of Rae going in to save herself?

How extremely kind of you to remember!

No, that was actually a YA murder mystery that I wrote while ill, revised while recovering, and sent out into the world where it died on submission. (Which means we sent it out to about 12 editors and the editor either said no, or said yes and took it to acquisitions - a group of people at the publisher including sales and marketing - and acquisitions said no.)

One editor told me she really wanted and really tried to buy it. Another person who worked in publishing (and has since changed jobs, or I wouldn’t share this) said the response at her acquisitions was - if you like this writer, find the next her (implications about health and youth were made).

I was terrified my agent was going to ditch me too, but she said ‘We’ll sell that one day, for now let’s write the next thing.’

I remember another writer telling me she missed my work that wasn’t a tie-in, and I felt ashamed to tell her it wasn’t that I wasn’t writing other things - it was that I couldn’t publish them.

The tie-ins meanwhile were paying the bills (they still are tbh!) and I was and remain so grateful for them. But I also really loved writing them - especially my Sabrina tie-ins, you don’t forget the first, and it reminded me I want to write horror and poly one day - and how they got me to love and sympathise with so many fandoms.

I see the burnout of caregivers all around me, and I wanted to write the story of one. But maybe I also wanted to take a step back from cancer. I didn’t think I did, at the time. I had a whole lot of things I tried writing before Long Live Evil, and I think some of them were really good. One of my critique partners gave me a lipstick with the same name as someone in the murder mystery. There was a romance novel another critique partner said was her favourite thing I’d ever written. But none had someone with cancer at the heart of the story.

And even though Rae isn’t much like me, maybe I had to start there. You can’t make real magic using someone else’s liver. Maybe I had to wait to be brave enough to use my own liver.

I do get requests for advice on how to cope with rejection of your writing, and I always worried I didn’t have anything else to say, but I suppose my example says - if you can, (and I know it’s hard, you feel so terrible at writing and so useless) (and you love the work you’ve done so much and you don’t see a way forward to loving the next thing) (but still, if you possibly can) write the next thing.

Even if the first thing sells, you’ll want the next thing one day. Writing the next thing is more writing practise, so it’ll make you better. Write the next thing.

Ultimately I’m really glad Long Live Evil was my comeback book. I think it needed to be. It took the time it took.

But maybe it was a shade of that past book (where the heroine’s sister with cancer was six, so not much like any of the Time of Iron characters) that made me think of the YA version of this book, which I always had in my mind as something I was intentionally hewing away from - a more straightforward book, a book that might have sold better - in which shy reader Alice was the hero. She’s the one with the suggestive hero name - Alice through the looking glass - the heroine looks, and the more projectable-upon personality. She’d get called annoying less often (though still some, because she’s a girl), partly because she is (with love, Rae knows I’m right) a genuinely less annoying person. Much kinder, much sweeter, and much better at in-depth reading! Her sister being in trouble would’ve been a backstory, a catalyst point, and - you’re totally right - a great motivation for her to get the Flower. Saving a family member is a much more sympathetic and heroic motivation than saving yourself and one I do love (the Hunger Games, Labyrinth, Mahy’s the Changeover, and I write it a lot!). I think Snarky While Tragically Dying Rae would’ve been a pretty popular side character, too. I think it would’ve been a good book! Just not mine.

I love your question because I love thinking about POV, and all the decisions that are the building blocks of a story. To me, the Alice centric Time of Iron is a version that exists. As are several versions of the Lia centric Time of Iron. And versions centring other characters exist to me, too. (Eric, absolutely.)

Speaking of POV musing, I think Rahela the wicked stepsister featured more in the musical than the book. If the Time of Iron series ever became a TV show (and at this point in time I think I’d rather a movie because it wouldn’t… get cancelled…) and I got to write it (don’t know why I would…) I would start with the beginnings for three characters about to go on a journey to somewhere strange to them: Key in the Cauldron, Rae in the hospital, and Vasilisa in the icelands. There are so many possibilities! And I really wanted the sense that there were so many possibilities, too.

But I wanted the chronically ill one to be the centre of the story, and for it to be her villain origin story, and to ask a lot of questions (hence a lot of villains!) about who gets villainised and why. And I thought hers, to my mind, would be the most fun of all the possible stories.

So that’s the one I made. But Long Live Evil has a lot of origins. Thank you for remembering one of them! I don’t think I would’ve dared tell the story, if things hadn’t worked out for me (so far, fingers crossed).

And I also tell it to be clear my publisher was taking a RISK with me and Long Live Evil, and I really appreciate that, and I’m so happy it’s worked out for them (again so far, early days, fingers crossed, etc).

I hope some writers - whether in the process of submission, rejection or making the choices that are the building blocks of story - find this helpful, and some readers find it interesting.

Let this be one of the universes in which your story is told.

[chaifootsteps]

does the 'we're only halfway through' squad realize that half of a show is more than enough time to expect actual character development to happen? because it hasn't and I suspect it won't, because Viv is terrible at actually making character changes stick

Blitzo - he's fared the best of everyone but it's still not much to look at - he's still an impulsive jerk who's mean to Moxxie. He's decided to stop butting in on M&M not because he respects either of their boundaries more now but because he's pining for Stolas for no adequately explained reason. His relationship with Loona hasn't changed, he's still a bit overbearing and overprotective. He's made up with Fizz but it doesn't really feel like he's changed meaningfully to become a person who wouldn't make the same mistake again because the first mistake was just an accident he couldn't have foreseen. Regressed in some ways because Stolas has totally wrecked his confidence and made him behave out of character by making Loona, his beloved daughter, burn taxidermy owls and neglected to pay his employees i.e. hurt the people who should matter to pine over his abuser.

On his end he's treated rephrensibly by the people who are supposed to love him - Stolas obviously, but also treated poorly by Fizz, M&M and Loona as not one of them think how Stolas treated him is messed up. IMP in particular are actively aware of Stolas being the meal ticket and assume it's fine to pimp out their boss since he's not complaining about it?

Moxxie - learns he needs to be confident in his own skills. Repeatedly. Occasionally calls Blitzo by first name but still uses 'sir' often, so he hasn't really changed there. No relationship to speak of with Loona. Mostly happy together with Millie

Millie - her only plots are helping the men get their shit together. Stopped calling Loona hellhound for no explained reason

Loona - made a friend in Tex, kind of. No change in most of her relationships with the cast because she barely has one

Via - repeating the same 'why does dad keep neglecting me' arc until she cuts him off, at which point he'll probably win her back in five minutes (then go right back to ignoring her)

Stolas - developed to learn the deal was wrong but not really since he's ending it principally because Blitzo wouldn't date him at the same time as Stolas was sexually extorting him. Still treats Blitzo like an object whose feelings inconvenience him. Still neglects his daughter. Learnt to stand up to Stella out of nowhere, so there's that I guess. Regressed harder than anyone else in terms of development since he's incapable of ever admitting when he's done wrong - it's not cheating since he says so, and gives lip service to the idea he's hurt Blitzo before being Shocked and Appalled whenever Blitzo confirms outright 'you hurt me'. Still talks down to imps. Has yet to acknowledge any of the members of IMP by name or show gratitude for them saving his life. A waste of flesh and screentime

Fizz - changed from a chaotic sassy king to a scared abused woobie. Managed to get free of Mammon in the space of one episode. Made up with Blitzo. Feels bad about not being equal to Ozzie but we're going to sweep that under the rug since classism storylines are a problem for making stol1tz happen

Striker - went from a legitimately scary antagonist who had a point, tempted Blitzo with great chemistry to a laughing stock who not only always loses but is called a supremacist despite only having ever pointed out the rich have all the power and mistreat the poor (a thing the show has proven him right about time and again). Goes from smooth seductor to joke with a hygiene problem

like, we can admit this is a tiny amount of development for two whole seasons and 50% of the entire show, right?

You can really tell the people in this fandom who actually watch other forms of media from the ones who don't, and by that I mean "haters expecting everything to be revealed in episode one." Shows don't reveal or even necessarily plan everything from day one, but I can't think of another cartoon that wobbles around as much as HB does.

[makutaservaela]

A janitor/scientist bio-engineered a bunch of spiders, unleashed the spiders on an island, the spiders wiped out every living thing on the island, and then the dude renamed the now barren rock of an island after the spiders.

The one survivor of the genocide joined the CIA, was renamed "Survivor", and gets stronger the more pissed off at him you get.

Another janitor/scientist tried to science the Skeleton Orcs, gave them absurdly broken powers, and then got exiled for being a massive fuck-up. His name now means "Failure".

In the Skeleton Orcs species, the females are more aggressive. In the prominent Hobbit species, "female" refers to coding that makes one more passive. The main Skeleton Orc gang, who are males by their species rules, are never considered females to the Hobbit species despite the fact that they should be what the Hobbits define as "female".

Some of the janitor/scientists get flash-banged into blindness when they accidentally see Jesus disintegrate. They overcome this blindness by forcing brainwashed slaves to ride piggy-back on them and use telepathy to see out of the slaves' eyes. Two of the slaves are really into this, and after being unbrainwashed, one of those two throws a fit because she preferred the slave job.

There are multiple characters named after real people. One of those real people was the wife of the author.

There are two characters whose names are one letter apart, one of whom was made out of the other, but the similarities of their names is a coincidence.

There is one race of hobbits capable of being either sex. Despite that, the only blue one in the group is the only female.

The light-hobbits and their kin grow larger when standing in God's heart for no discernible reason. This happens to no one else except for one guy, which is explained in story into him just making himself bigger.

A character is killed and immediately replaced by an exact replica whose only stated name is that he is the replacement of the original guy. He's not a clone. He's a completely different guy who looks the exact same and has the same powers.

A guy repeatedly hypnotized his coworker until his coworker became mentally disabled.

A guy repeatedly lashed out at and physically disabled multiple of his coworkers, and they just kept putting up with his shit. They literally had entire rest of the planet to leave to, or multiple armies to use to gang up against him, and instead they all stayed in one place around him and ignored him.

While there is a system set in place to bring people back to life, one character was mauled so violently by sasquatch that it is impossible to revive him.

The lizard tiddy dominatrixes also have wigs and high-heels. They are capable of wearing masks that give superpowers, but would rather not because they are too vain to hide their faces.

Trying to kill yourself in front of your brainwashed friend is a surprisingly effective way of snapping him out of the brainwashing.

A hobbit broke into the CIA's bosses office and was rewarded with employment and a car with legs.

A guy capable of creating anything and who has the ability to teleport himself, other people, and large objects, had something stolen from his office by his janitor/scientist/bodyguard. He threw a tantrum about it and had the CIA murder everyone who knows where his house is, including their own staff, rather than the guy just building better security or moving his house somewhere else.

Cthulu traded bodies with some dude for a while. The above guy is capable of forcing them to swap back against Cthulu's will, yet somehow he still didn't even both considering a way to protect his own house other than whining the CIA into murdering a bunch of people.

A guy was supposed to be a doctor, but was so awful at it that he kept hiding his traumatized patients, and his home became the word for "hell".

Yaoi-Hands Sword-wielding Nerd Husband has an item that lets him open dimensional portals. He considers using it to drop kaijus on cities amusing.

One of the cities Nerd-Husband dropped a kaiju on was the brain of God. Despite dropping a kaiju on the brain of God, there is no mention of him facing any disciplinary actions for this, although he is punished harshly for selling himself as a bruiser to a gang for sentient drugs.

Nerd Husband later fell into a pool of sentient drugs and tripped out so hard he gained ethereal knowledge.

A hobbit has the ability to teleport by walking in slow-motion (granted the place he teleports to is in walking-access). Despite him and his ability being very prominent in the early story, the author of the books never was able to learn what was intended by this guy's power.

Two video games that introduce more lore fluidly to the story than most other media of that time are retconned out of canon.

Reblog with your favourite piece of Cursed Bionicle Lore.

[mogamuncher]

Heeeey I'm back again with another tidbit of the Slay the Knight AU (AKA: the Re:Zero and Slay the Princess crossover au)

Anyways due to some of y'all's amazing suggestion, I think I have a lot more ideas to rave about rn, mostly about the voices, but also some about the different Barus that this au would have!

Ok so, first the voices:

Voice of the Hero - Voice of the Noble: Julius.

Voice of the Contrarian - Voice of the Opposed: Ram

Voice of the Opportunist- Voice of the Cunning: Anastasia

Voice of the Cold - Voice of the Shut-in: Beatrice

Voice of the Paranoid - Voice of the Troubled: Otto

Voice of the Stubborn - Voice of the Proud: Priscilla

Voice of the Hunted - Voice of the Protector (shield, get it?): Garfield

Voice of the Cheated - Voice of the Wronged: Felt

Voice of the Skeptic - Voice of the Cynic: Pick

Voice of the Smitten - Voice of the Devoted: Rem

Voice of the Broken - Voice of the Selfless: Reinhard

I think that's all the voices but I might be wrong. . Uhhh anyways here they all are! Again a lot of these are from suggestions, but I really liked them! Some names are still iffy (Felt and Garfiel could definitely be improved upon I think) but I do like the character placements!

My favorite thing to think about is which route these voices will interact with, since all the Barus will be very. . . Interesting.

Speaking of the Barus, here's some ideas I had for their princess equivalents, with pictures!

So, first, to get it out of the way: The Witch

100% Wrathbaru, there's not a single bone in my body that says otherwise. The Witch route is all about distrust, it's all about how you betrayed the Princess and so she betrayed and beat up you, there's even a reference to the Frog and the Scorpion fable in her route, a fable all about trusting someone only to get hurt in doing so. Hell, the characteristic voice for her route is Voice of the Opportunist, who's singlehandedly the voice that should be trusted the least

Meanwhile in the Wrath IF route, Wrathbaru was specifically incredibly paranoid and distrustful to the point where he stopped seeing color, only ever seeing color in people who he fully trusted, mainly because he knew for certain where they stood emotionally when it came to him either through consistency across loops (Beatrice and Emilia) or because he knows that they just hate him (Ram and also kinda Emilia)

The point is, Wrathbaru absolutely would be the Witch equivalent, if only for the themes alone, though he's a lot somber than the very playful Witch.

Also, catboy Wrathbaru, enough said.

Though if Wrathbaru is The Witch then The Thorn will definitely be really interesting

I like to think that Wrathbaru in the Thorn would still be very jumpy and paranoid, instead of the gentle show of trust in the og game, Emilia (The Long Quiet) would have to drag Wrathbaru out of those vines kicking and screaming

Having Rem, Julius and Anastasia harassing Echidna (The Narrator) about describing a kiss with Wrathbaru would be absolutely hilarious though, absolutely peak fiction

Now, let's please talk about The Damsel

So, we can like, all agree that this is arc 1-2 Baru, right? Just straight up that Subaru, but with more bimbo energy

Rem here would be fun, though she probably wouldn't say things in the exact same manner the Smitten does, she can still be really funny with her Subaru crush, as seen in the snow special

Ok, so like, we got the Damsel figured out, cool.

Now, Happily Ever After, on the other hand

Ok so this is pristine cut content, so definitely some big spoilers, but:

Greebaru. Just, 100%, 1000% Greedbaru coded. There's not a single princess that could ever rival the Greedbaru-ness of this princess in the entire game

Just, him and Emilia being literally controlled the entire time, the idea of Echidna slowly growing disillusioned as the route goes on as she sees where her meddling will take her, the constant repetition and Subaru's desperation that doing things again and again will fix it, the fact that REM I would be the one orchestrating all of this???

Just, how utterly miserable everyone is inside of this route, it's simply Greed IF core. Everyone knows that Greed IF is the IF where no one gets to be happy despite everything technically being "alright", which is exactly the vibes that this route has!

Also, going from Arc 1-2 Subaru to Greed IF Subaru would be such a drastic jump, I love it

Greebaru would be a lot calmer than the og princess in this route, think lots of fake smiles and call insistance that slowly becomes hysterical desperation

Also, dancing with Greebaru under the stars, enough said

For other standouts:

The Den

We get to have a full monster Baru!

He'll probably be a chimera type beast that's a ground dragon (Petrasche reference ayy) mixed with a rabbit (hah) with a big horn on his forehead and Cappella-esque wings

There's no way to really stick his iconic slicked back hair on a rabbit head without it looking a bit goofy, so I propose we let Subaru grow his hair out and have it down for this one

The Razor:

For some reason I cannot possibly describe to you, I keep thinking of her equivalent being Pridebaru. No seriously do not ask me why, I don't know either

Maybe it's because she's the most affably murder happy one? Then again there's the Adversary. . . Anyways if she were to be Pridebaru then I suggest an added fire motif, along with the blades

The blades can mainly stay due to the association with Elsa, in fact, maybe this Baru can specifically only ever target Emilia's guts when he goes to skewer her

Also Mutually Assured Destruction

That entire interaction will be hilarious now. Rem finding this beautiful, Priscilla saying it's the perfect man, Ram wondering if he can be thrown out of a window??? Mwah, perfection

I also would like if there was a fire motif there, maybe he can also he on fire

The Nightmare

My beloved, because he would mean we get to hear Otto do the "Heart. Lungs. Liver. Nerves" chant, but also I have no clue what Baru he would even be

Maybe Gluttony??? A Moment of Clarity would make Gluttony an interesting pick here, but I don't know for sure

Other than that I'm still brainstorming ideas, and ofc taking suggestions, so feel free to tell me what y'all think!

[shirefantasies]

hi, feeling nervous to ask so I’m sending this anon

If you haven’t already, could you do a hurt/comfort imagine? Like YN is hurt, either from a fight, ptsd, poor health etc, and imagine the types of comfort?

thank youu 💜

Sure! Since no character was mentioned I chose one and went a mental health route, hope that's ok! A comfort character fr though 🥺

Safe Right Here- Faramir x F!Reader (Drabble)

Warnings: angst (with comfort), past emotional abuse, mentions of self-destructive thoughts

One word. One word was all it took sometimes. A single phrase could push one off the precipice of memory. A chasm dark and inescapable, deep as life and death and everything in between. Such was it that when you fell, you wondered why you had ever been alive in the first place. Why one who failed to earn love was cruelly thrust into a world she was so unfit for. Why being called a maker of twisted, idiotic mistakes felt so akin to being dubbed the mistake itself.

So many things seemed to come naturally for all but you. Behaviors and unspoken rules. You needed them spoken, and when they were it was often done mockingly or in annoyance. Perhaps they were right- you simply were a burden.

"What is wrong?"

"N-nothing," you stammered, realizing how foolish you must have looked with tears pouring down your reddened face, "Nothing that matters."

"It matters," Faramir replied, kneeling at your side, "If it is bothering you. It matters to you. And it matters to me.”

Something about his emphasis, the way Faramir could speak so firmly in confidence and yet so softly, broke you. Was it foolish to hear love in his words? Perhaps, and yet there you were collapsing into his arms.

“Why? Why am I so wrong?” You sobbed.

“Wrong?” Faramir tilted his head, stubble shifting along the top of your head with a light scratch. “Wrong about what?”

“About nothing. I am just wrong,” you breathed, chest heaving with each attempt to speak, “I have nothing to show for myself. No family, no work to take pride in. Nothing complete to my name and no understanding of it all. Everything is so difficult for me. Why was I even born?”

Warmth fell upon you. New warmth beyond the tight hold of Faramir’s arms, the smells of woods and smoke clinging to the fabric and leather that embraced you. Moisture. Tears tumbled from Faramir’s blue eyes, ephemeral diamonds adorning the crown of your head. Diamonds of pure sorrow. A fitting crown indeed.

“My heart shatters to even hear you speak these words, but I confess I have spoken them too. Whispered them into the darkness in many a solitary moment,” Faramir admitted, arms winding even tighter, “But to hear them like this, coming from the lips of one so sweet? I may not be able to convince you, but they are lies. Poisonous lies.”

“They feel so real.”

“Right up until they destroy you,” Faramir agreed, his head resting over yours, “I almost threw my life away because of them but I know it would be true forfeit to see you do the same. My brother would not have wished this life for me. For you. Those who love you would feel the pain of that loss every day of their remaining lives.”

“Who-”

“I love you,” he cut you off, offering a knowing smile as compensation.

“And I you,” you replied softly, nuzzling closer until his words sunk fully in, giving you pause, “Wait, you almost…?”

“Yes. For Gondor. And perhaps a bit for myself, too.”

“Anything to give them what they want and see if the tang of blood takes the poison from their mouths. But you are kind, you are wise. You are enough.”

Faramir nodded, lightly scratching your head again. Your heart warmed, spreading through your body even against the cold stone floor on which you sat.

“And here I thought I was comforting you,” Faramir chuckled, a deep sound reverberating against your joined chests.

“See how well you’ve done?” You half-chuckled, half-sobbed, giving your first tentative smile. “It is easier when you are here. The rest fades.”

Kissing the top of your head lightly, Faramir circled a hand over your back, faint pressure bringing tingles down your spine. Sensation that drowned out the buzzing cries of your head.

“You are safe with me. Safe right here,” he affirmed.

Exhaling more tension, you tightened your grip, fingers flexing against his doublet.

“Together we can find the power to make the world of our dreams one day at a time,” Faramir told you, “One day after another I will remind you you have a safe home in my arms. Let me be your shield.”

“And let me be your armor,” you murmured, finally relaxing fully into his embrace.

“Armor,” Faramir echoed with a smile, “Forged perfectly for each other. I like that. Perfect for one at least, for you suit me just as you are.”

This time he tilted your chin, lifting your teary gaze to meet his and your head to nod before he pulled you in for a gentle kiss upon your lips.

“Nothing more,” he whispered, “Nothing less.”

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[sockatoothewafflebird]

okay so i found this s1 and s2 intro comparison video and i'm going feral about it. i have a lot to say. i think the intro poses some very important theories and ideas and i'd like to post my take about it. this is about arcane btw

i made a comment about this on the video itself but there's a lot more i wanted to say. in short, the comment said:

season one's intro focuses on the surface-level ideas of the characters. each one is either decked out in their gear or holding their weapons, or whatever things make them who they are. i think it's super cool for that, but season two's focuses solely on lighting and the characters themselves.

as another post mentioned, all of the characters are in very generic clothing, with nothing but them to observe. no gear, no weapons, no items, other than viktor holding his mask (the same way he held the book last season mind you) and the medardas with the rose. they're going to be stripped bare in this season.

the lighting is made so it highlights their faces, their posture, their body language. we're not looking at characters in a show anymore. we're looking at people.

that's the big main idea of all of this, but there's a lot more to talk about, so i'll put the rest under the cut so nonone has to scroll for hours to get past this post if they don't want to read everything. and there are a heap of season two spoilers under the cut as well, just beware.

anyway, we start out the intro with vi. let's take a really close look at this because holy shit.

we start with her sitting there, in nothing but a tank top (and i think not even a bra lmao) and she brings her hand to her face and smudges her tattoo. the tattoo with her name on it. the tattoo that helped maddie nolan recognize her.

and then the pink strip of light HIGHLIGHTS IT. that's her name, that's who she is, and she smudged it. it's probably a tattoo so the smudge in the intro is lore symbolic than anything, unless you can just easily remove tattoos in the league of legends universe. but anyway, yeah, she's having an identity crisis. she doesn't know who she is anymore.

next, we have jinx. parallel to last season's intro vi and jinx are back to back. but in this season they're sitting down. while vi is sitting, contemplative, her sister stands up and shoots.

i think comparing this with s1 is very important. in s1 vi and powder are a carving, cut from the same stone. and there they are in season two, now their own people, now walking away from one another. it's a very clever way to present their dynamic in my opinion.

it's important to point out that vi sits down and the light illuminates her smudged tattoo, while when jinx stands and shoots the light highlights her eye. i'm not sure what to make of it but it's interesting.

let's move on to ekko!

so, when it switches to him, we can see him standing alone in an empty room, the light making it so he has two shadows. they move bit by bit, like the hands of a clock.

i think that's a really cool detail because, for those who don't know much about league of legends, ekko's ability in the game is time-related. what it means for his arc in s2 i'm not quite certain on, but i have a really big theory i'll talk about in another post soon.

on to the next bit, viktor! unfortunately there's a 10-image limit on mobile and i dont have a computer right now so i'll continue this in another post. also i don't want this to be pages and pages long... so stay tuned cause ive got a lot of shit to say lmao.

made a new blog tag, just search arcane intro analysis in my blog and you'll find all posts relating to arcane's intro. more to come!!!

[makorragal-312]

Why the BuckTommy break-up fell flat narratively...

Disclaimer: I am not defending this ship. I hate it and I'm glad it's dead.

1. Prior to the break-up, he made a jab at Abby for dating a guy half her age and riding Buck off as "a himbo." Even though he's literally doing the same exact thing.

That, kids, is what we call "hypocrisy."

2. Tommy said that he "knows how the relationship ends."

Sir, if you know how it ends, why did you go for it in the first place? This just gives off that he was only dating Buck either for a good time or because Eddie wasn't showing any signs of interest, so he just settled for his bestie.

3. Tommy tries to pawn off the catalyst of the relationship ending on Buck, saying that he would "break his heart."

Even though HE was the one doing all the heart-breaking shit to BUCK throughout the entire goddamn relationship.

4. Josh's dumbass advice.

Okay, that's not fair. Josh's advice wasn't dumb per-say, but it was completely irrelevant to Buck's issue. I know that he probably doesn't really know who Tommy is, but making him sound like he was this gay pioneer who led the charge at Stonewall and that his scars should be respected?

Absolute nope.

It ended up making Buck's move-in proposal feel like he was doing it out of obligation because Tommy's been out longer than he has, so why shouldn't he ask him to move in with him?

And on that topic...

5. The return of the hamster wheel

You would think that after dumping Taylor the way he did, Buck would remember that he doesn't necessarily have to hold on to relationships that aren't working and he can just cut it loose, right?

Wrong.

Instead, they have Buck actually take Josh's advice and pull a Taylor 2.0 by asking Tommy to move in with him. This show continues to leave Buck on that fucking hamster wheel instead of letting him get off and it's working my nerve. Even if this was just the show's way of showing that Buck's toxic relationship tendencies don't change because he's with someone of the same sex, it's still redundant and annoying.

6. Buck.

The first and only time Tommy chooses to refer to Buck by his preferred name is when he's dropping him like a baked potato.

And the show never even gave Buck the chance to tell him off about it.

The fucking audacity.

And finally,

7. TOMMY KINARD HIMSELF

This whole scene, the narrative tries to paint Tommy out to be this sympathetic character all throughout, making him look all sad and talking about how "he knew the parking spot was too good to be true" and citing Buck to be the one who would break his heart.

Despite the fact that he literally broke Buck's again just seconds ago.

I'll never understand why the show decided to take this route with Tommy's character for the episode even though in past episodes, he's been canonically depicted to be insensitive at best and flat out bigoted at worse. And throughout the entirety of his and Buck's relationship, he has said and done things that have hurt Buck and he never even apologized for it. And if he did apologize, he gave a lame apology as to why he did do.

*cough* first date *cough cough*

And it definitely doesn't help matters that the show made the active choice not to bring up his past actions within the relationship or for Buck to even know about it. Instead, they made Abby the catalyst for the break up when it could've been Tommy himself being the catalyst.

Obviously, there were a million ways the show could've given the BuckTommy break-up a major impact and there were definitely ways they could've made the break-up solid with the Abby revelation.

All in all, the break-up could've been executed better, but at least the ship is dead.

[what-eats-owls]

It matters how you do it

I finished Dragon Age: The Veilguard and had some big feelings about it. Spoilers for basically everything under the cut, and frankly, it won't make sense unless you've finished the game anyway.

First of all: I had a blast with this game. I didn't find Act 1 slow, I did find Act 2 a bit of a whack-a-mole, and then Act 3 kicks you in the kidney (complementary) while insisting it's for your own good.

I've seen some recurring complaints: that it lacks depth/edge/darkness, that it abandons previous lore, that the previous choices don't matter. I don't entirely disagree. To me, it felt like a massive Dragon Age 4 game that pivoted to a different, tighter game after complaints about bloat in Inquisition. The key is that when editing down, there's such a thing as trying to trim the fat and taking a chunk of the roast with it.

I enjoy the concept of Lucanis's character, and the voice actor sold the hell out of him, but the storyline felt like being taken to a museum and allowed to see one (1) beautiful unfinished sculpture. Why did Spite, specifically, work? We know the spirit of Justice became Vengeance by abomination, we knew Solas was Wisdom before he became Pride, so what was Spite before, and why wasn't that tied to Lucanis's own personal arc? (Doubly so if you romance him!)

Similarly, Harding was a delight, and her greenhouse was such a lovely little haven. I would have loved to see more explanation of the connection between plants and the titans, and how Harding's own personal struggles with rage connected to that of the titans. She has every reason to be angry and scared, and the game tells us she pushed that away—but we don't actually see her toxic positivity manifest to that degree, until she abruptly has an angry clone.

On the flip side, I loved the other five character quests, and I felt they had solid, poignant arcs that delivered. I also adored their interactions with the codex—if anything, I wanted to see more of that type of interaction on the screen. You have to fill in a lot of the character work for Rook yourself; Rook has all these interesting potential backgrounds, but I think starting the game playing through those, a la Origins, would have gone miles towards establishing more personal stakes up front and made for a stronger start.

So that's all my nitpicking. But let's talk about the bigger theme: It matters how you do it.

In the first Fade conversation with Solas, he gets so mad when Rook refuses to let him DARVO them about the consequences of his botched ritual. This makes way more sense when you understand he's literally imprisoned by his own regrets, and he needs Rook to have that same kind of regret in order to take his place. His entire arc is about rationalizing binary choices and shitty actions that hurt others in the name of a hypothetical greater good that he wants.

Solas can't engineer every binary choice Rook's forced into, but he uses Varric to maximize Rook's regret. He is trying to quite literally mold Rook into him, and the game is great at presenting this both as a coldblooded manipulation and a broken plea for validation—if you let it. You don't have to give Solas a moment of consideration; you don't have to take time to view his memories, or kill his demons, or listen to those scraps of Mythal still holding onto the good in him. You don't have to do any of it.

But you can. And in the end, it matters.

It matters because for every companion, you can encourage them to either be more nurturing/compassionate or destructive/closed off versions of themselves, and that is frequently tied to continuing or breaking from a cycle. (The exception is either Neve or, presumably, Lucanis, who are forced into the Hardened version depending on which city you save.) These aren't presented as morally opposing choices, just who you want them to be. You can see how the Grey Wardens fucked up bad with griffons and decide they have a better place. You can help Emmrich face his fear by finding deeper meaning in life instead of indefinitely postponing death. You can help them do things differently.

So when you get to the final choice in the game, you may have two options: physically force Solas into saving the Veil, or trick him into it. The kind of binary choice Solas has molded you into making by pelting you with cruelty and manipulation.

Or, if you've taken the time, you can get him to understand he's wrong. You bring out the people who saw the best in him and speak to what he's had to endure, even as you're showing him there's another way. You reach him not as Pride, but as Wisdom. And he goes willingly.

Ultimately, I think DA2 and Inquisition grappled with big questions of oppression and violence, faith and authority. It makes sense for those games to delve into harder, uglier subject matter, and ask you to make binary calls.

But my read of Veilguard is that, at its core, it's about how those decisions are meant to trap you in regret at best, and numb you to rationalizing cruelty at worst. It's why the companion who loses their home city becomes colder, more isolated, in response—more like Solas.

That's why it offers you a third way at the very end, but only if you've worked for it. A better way is possible, yet it has to be more than words. You have to understand where the pain comes from, what maintains and is being maintained by the current cycle. Then, and only then, can you break it.

I can't wait to play it again.

P.S. Utterly obsessed with the Trevisan fish merchant.

[scorndotexe]

Out of curiosity, why do you dislike Midnight Mass? It's really like hear your opinions.

it's just so fucking BORING!! the concept is interesting i do find the concept interesting (vampire priest who believes his vampirism is a gift from god) but somehow it was done in the least interesting way possible. sometimes there's like a minute where i thought "holy shit is it finally gonna get better" and then i watched the next episode and it continued to be exactly the same.

all the characters are basically exactly the same. i know it's by monologue flanagan but can they at least monologue in DIFFERENT ways??? dear god. he edited it himself and you can REALLY tell. the fucking ten minute scene that's just "what do you think happens after we die? vcnvncmrnwbvnjef vdmnnc cmnennwneetnewnnwbefnbrtnbemrbermnbmrbtrtbwnrebeb" is crazy who thought that was a good idea. god every character was so forgettable i think i remember like 4 names. genuinely i see people talking about a character and i have to look them up and i STILL don't remember them. don't get me started on the fucking therapy speak. also riley flynn is the most boring protagonist i've ever seen i can't think of a single personality trait he has. i can barely think of ANY personality traits ANY characters have.

i know we shit on his adaptations a lot (as we should) and at the very fucking least he didn't ruin another excellent work of horror with midnight mass but he is NOT a good writer with his own stuff either!! it's so BLAND. even when it's not boring it's bland and uninteresting. i know i'm biased i know i watch extreme horror to find artistic value in underlooked pieces of media so i'm used to "that freak shit" but he did nothing!!! he did nothing with his vampire priest! he was literally irrelevant by the end because he gave that antagonist role to some other character and he was never really the protagonist either. he was just there for a really dumb late-game romance plot/plot twist.

it's such an unbearable show and the ending isn't even good!!! its tone is so fucking weird like everyone dies and yet there's still a weirdly hopeful tone to it. i feel like that's a moment to REALLY lean into the tragedy. it doesn't have a happy ending but it also doesn't let you feel sad enough for it to be truly tragic.

also there's like three different types of vampire in the show and it makes NO sense why they're so different from each other. i'm not asking for extensive lore i'm just asking for consistency.

it's like 8 hours long and i know i've probably spent way more than that complaining about this fucking show but still a waste of my time. it just sucks so much. it could have been an okay movie but as a whole show it's so dragged out and doesn't DO anything with those eight hours. i don't mind a slow burn i really don't but a) the build up has to be worth something and b) it has to have something really really good at the end of the build up.

honestly it looks SO good in gifs and screenshots and fanart that it makes me wish the show was better because you could have a much better experience just looking at those and imagining a good show than actually watching it.

on the plus side if you DO watch the actual show riley's death scene is the funniest shit in the whole thing.

[shrimpwritings]

Arcane Season 2: Vi Character Analysis and Speculations

It’s been a while since I’ve done a character analysis, and what better way to write one after watching the first three episodes of the second season of Arcane? This is just my interpretation and analysis, so it might not be the same as other people’s, and that’s okay! There will be major spoilers ahead, though, so please read at your own risk!

We’re all anxious to see what’s to become of Vi in Act 2 of season 2, and rightfully so, considering how badly Caitlyn fucked up. Despite the pain we feel for Vi in that scene, we can still sympathize with Caitlyn as her grief is taking charge over her rational thinking, but at that moment, Vi looks as if her whole world has crumbled.

Despite the jokes people have made online posting pictures of Vi’s models from season 1 and season 2, namely during her pit fighter era, with texts all saying something along the lines of, “This is what a lesbian situationship does to someone.” In a way, they’re right, but it holds a deeper meaning than just that.

Vi grew up with the weight of the world on her shoulders. Vander always told her she would be held responsible for whatever happened to Mylo, Claggor, and Powder– or Jinx. The first, and probably only person that had told her that whatever happened to her sister wasn’t her burden to bear was Caitlyn, so her betrayal hits hard. Vi finally thinks she’s found someone that won’t hold her accountable for the atrocities her sister commits, someone she’s comfortable showing vulnerability to. 

Vi understands Powder died as soon as she was arrested, though it takes the entirety of season 1 to fully grasp that because, to her, time stopped. She was convinced she’d come back to that same little girl she abandoned against her will, but instead, she came back to an unstable person hellbent on chaos. Trying to live in a world that moved on was a difficult transition for her, only made easier by Caitlyn giving her a place to stay for a time, and running to her for comfort after her mother’s passing. She felt responsible for everything that happened, and it takes a soft moment between the two to make her truly understand that she doesn’t have to shoulder the burden of the casualties in the explosion.

Then the fight happens, and Vi stops Caitlyn from shooting Jinx and Isha. 

“I keep telling myself that you’re different, but you’re not. It’s her blood in your veins.” “Then why are you the one acting like her?!”

The butt of a gun to the gut– the exact same place where Sevika had stabbed her in season 1 to be exact– and a glare from Caitlyn are the last things Vi receives before being left completely alone. We can see the absolute devastation on her face as she’s left completely alone, in pain and hurting, as the one person who she felt saw her as more than Jinx’s big sister leave her. 

From what we know about Vi as a character, is that she knows that she, as a Zaunite, is frowned upon, and she will never be treated with respect. Caitlyn only solidifies this belief by how she lashes out at her for stopping her from killing Jinx and Isha in the crossfire.

So where does that leave Vi? In a place between Zaun and Piltover, unable to belong in either city as they’re torn apart by Jinx’s revolution and Ambessa’s declaration of martial law, working as a pit fighter to make ends meet and drowning herself in liquor. Caitlyn’s betrayal hurts more than anything Silco or Jinx could do to her because she truly, genuinely, loved her, and thought she did the same. Why wouldn’t she fall deeper into the pit she dug for herself, using black face paint and hair dye to forget about the person she was that foolishly fell for Caitlyn Kiramman?

With that said, I’m very excited and terrified of where Vi’s story is going to take us in Act 2. November 16th can’t come any sooner.

[fleeglefazbeagle]

I made a poster for my Walten Files AU that centers around the holiday special antagonists today.

Yes, I based it off that concept poster for Shin Godzilla.

Here's the lore summarized the best way I can(trigger warning for murder, burning and mental breakdowns):

Basically, it involves the holiday special characters (Boozoo's Ghosts and The Mysterious House).

They basically came from an obscure restaurant/playhouse called "Prezzy's Wonderland"(Willy's Wonderland reference, lol).

The animatronics are:

Mortality(originally named Prezzy)

Jolly the Sheep

Sad the Clown

Pumpkin Rabbit

Witch Sheep(full name Willow the Witch Sheep)

TVA

Jonkler(this is just a placeholder name I recently made for Halloween Billy, so please don't get used to it just in case).

The animatronics, like in my FNAF AU, are sentient(think Security Breach) and have their own individual personalities. The restaurant is acknowledged by Jack Walten and Felix Kranken and even liked by them.

It was somewhat well known, so it had its reoccurring customers but the owners didn't mind. Two particular reoccurring customers were Lily Anderson and her mother Gloria, Lily often brought a plush bunny named Daisy (keep this in mind).

Things were going quite well until one day, on Lily's 12th birthday when she and Gloria were about to head home(it was kinda late and they were the last to leave), a man named Richard murdered the both of them outside. Prezzy heard the commotion and rushed over to the door to unlock it but it was stuck and by the time he finally managed to get out to see what was happening, it was too late, Lily and Gloria were murdered and the man was running away from the scene.

This broke Prezzy mentally and emotionally, causing him to have a breakdown, a nightguard came out and saw the scene, also scared and decided to call the owners, the police and an ambulance.

They investigated the footage and saw the murderer and are willing to try and find him whilst Prezzy was just sitting down on the stage in silence whilst gently holding Daisy(the plushie) and meanwhile, the other animatronics tried to comfort him.

Two weeks have passed and Prezzy wasn't really doing well(grief is a real bitch), often mumbling to himself, standing by himself in darkness all the while holding the plushie in his hand. At some points, he'd either act manic under pressure or just sit there listening to random music boxes(mostly Lily's favorite song which was "Daisy Bell").

One night when it was around midnight, Pumpkin Rabbit was wondering around when he heard a strange noise in Parts and Service, he wandered in curiously when the door shut and barricaded behind him, startling him. The same man(Richard) from the incident from two weeks ago approached Pumpkin and then he set the rabbit ablaze. Pumpkin Rabbit was freaking out, gasping for air and straight up afraid whilst the man stood there and watched with a sinister grin. Willow heard the commotion and rushed over to Parts and Service and tried to open the door, calling out to Pumpkin, clearly fearing for him and eventually, she managed to open the door and when she saw the scene, she screamed in horror, grabbed a fire extinguisher and put out the flames.

She sat on the floor and held Pumpkin whose face was now melted(he's alive though, don't worry) and looked up at the man with horror and disgust.

The next day came and the employees were shocked and what made matters worse was that they ran out of the materials for Pumpkin's face and couldn't afford it but a employee made a mask(think of the one Pumpkin Rabbit had in the OG vid) and gave it to him but it just wasn't the same.

Pumpkin Rabbit had breathing problems and pyrophobia as a result of the incident. One day, the place was shut down which devastated folks especially since one of the owners who was the creator of the characters(in universe) was gravely ill and then died days later.

This left the employees unemployed and the animatronics pretty much have to live in the now abandoned restaurant. The incident with the fire and the creator's death was the final straw for Prezzy, these incidents made him go mad and hungry for revenge.

Three months have passed since the place closed, the animatronics end up gaining supernatural abilities(I'll think of an origin for that).

Prezzy decided to change his name to Mortality(he's still ok with being referred to as Prezzy from time to time).

As far as that plushie, Daisy is concerned, she's possessed by the spirits of Lily and Gloria(think of Rocket with Ed and Molly).

Lily's older cousin, James, who was also an employee at the restaurant, heard about the news and he was pissed and also vows revenge.

That's pretty much what I have so far.

(Boy, that was a long one.)

If you have any questions at all, don't be hesitant to pop into my asks about the AU.

[explodingchantry]

A review of Veilguard from a long time, die hard fan of Dragon Age

When the review embargo on Veilgurd was lifted, I found it hard to take any review at face value. Dragon Age is unfortunately the one series I am very pretentious about, and I can’t trust reviews from people who aren’t huge Dragon Age fans like I am and who don’t hold the same views as me -- those views being, to keep it short, that Anders was right and justified, that he is one of the most tragic characters in the entire series, that he is a hero, that Bioware’s writing can be shockingly biased at times in the wrong ways, and that Inquisition is really not that good at all. These opinions have a lot of weight in whether I will listen to someone about Dragon Age matters. And I haven’t see a proper review from someone like this -- though granted as soon as the game came out I locked down and refused to look at anything in fear of spoilers lol. 

This review will be spoilers free, and there will be an addition at some point with all the spoilers and what I think about specific story details, because I have so much to say. 

The TL;DR? It’s a good game. If you like Dragon Age like I do, you’ll like it. If you open your heart to it, you’ll love it. It was made with love. 

This will be divided in section based on people’s biggest worries about the game and how much I have to say about each of them.

The art direction

Honestly I was a defender of the art style as soon as the trailers started coming out and my opinion has not changed lol. Dragon Age was never exactly known for its graphics - Origins and DA2 look… okay. And Inquisition was fine for its time but has aged like the most rotten milk you could find. Its environments are still pretty, but its characters, man… I’m sorry, it just hasn’t aged well. Frostbite engine did not help Bioware in this case. They’ve spoken about how it was a new engine for them and how they struggled with it and it shows. 

This game? Oh boy, yeah, no, I can believe they got a handle of Frostbite now. It is breathtaking. The environments are crafted so meticulously and with so much love, the lighting is beautiful and that’s even without RTX (because I’m in the AMD gang and can’t splurge on Nvidia lol). Many many times I would stop and go into photo mode either to take screenshots or to just admire the world around me. I’d spam screenshot in cutscenes, too. The character animations are good, especially the facial expressions -- though the body animations remain a tad stiff, like everyone’s got a broom up their ass and forgot their spine can bend and move. It’s not that big of a deal, but I did notice it a couple times. 

You can tell Bioware had fun both with character design and with the environments, now that they’re free of Ferelden’s basic medieval england looking ass. You grow attached to the beautiful and lively environments. Treviso has got to be my favorite, but there’s a lot for everyone in there. 

And no, the smoother art style does not make the game less dark. If anything, some of the enemy redesigns really help make the game scarier. The first time I was faced with the blight in game, even though I’d seen it in all of the promotional screenshots and trailers -- I was horrified and sickened by just how gross they made it look (and sound.). I promise you, you shouldn’t be scared of that. 

The emotional moments sold well even “in spite of” the art style. I don’t know, it’s hard for me to even understand people’s worries about that. Not everything’s got to be hyper-realistic, ya’ll. 

The combat system

That IS one thing I was a tad worried about, when we first saw it. It looked good, but it was definitely a departure from what we were used to. 

Honestly, to sell my point, we have to look at the previous games’ combat system. I don’t actually know if there’s a specific name for this style aside from, idk, “CRPG combat” lol. I like to refer to it as MMORPG combat because you mostly see it in MMOs now, I feel. Your character cycles through a bunch of basic combat animations for basic attacks, and has a lot of abilities to throw in combat which can synergise which each other. DAO had the best system, but DA2 felt best to play due to the updated and dynamic animations and faster paced combat. DAI had the weakest both due to the way they overhauled the classes (especially mages) and made us lose fan-favorite specialisations (spirit healer and blood mage) with not much in exchange. It was simplified and a bit sluggish, in my opinion. It missed the strategy imposed by DAO as well as the punch from DA2. 

And of course, there’s the battle tactics. You get to basically program companion AIs and can chain some really, really good combos with them. It’s really fun once you get the hang of it, but let’s be real: very few people did. Very few people actually used them, as good of a system as it was. 

This combat system… has aged a tad, unfortunately. It doesn’t fit today’s gaming landscape, but even if it did… It would need more to land, I think, if they kept it as it was. Something to make it feel less sluggish, more intense, more involved. Make the attacks FEEL like they land and hit and hurt the enemy. Because the harsh truth is, although DAO has the most in depth combat system of all of the games -- it also has numerous popular mods to skip combat entirely. 

Combat in Veilguard feels really, really good. When I first started I often found myself grinning, going “oh HELL yeah” at the screen, because it felt so good. I almost raised the difficulty a few times because I wanted combat to last longer because it just felt so damn good. I do wish it was a bit deeper, especially in the case of combos, but it remained nonetheless fun to cycle through abilities and companions depending on the area and type of enemies I was fighting. It feels more action-y, but it isn’t a damn hack n slash like I’ve seen people say lol. Have none of these people ever heard of the term action RPG or what. Because that’s what Veilguard is. It’s an action RPG and there’s nothing wrong with that. 

I think Bioware always kind of wanted to move towards this, as well. Since DAO, Dragon Age felt like it kept its combat system not because it was the most fitting for the games Bioware wanted to make, but because they “had to”. Because it was right for the genre. Because it’s what players expect. Because they’d get backlash if they didn’t. But they finally decided to change it, and I think it’s right, for Veilguard. I think Bioware had fun making this system, and it is very much extremely fun to play. 

My only wish is for spirit healer and blood mage specialisation to come back, and for companion leveling up to have been deeper and more varied. They basically have set abilities that you level up and though you can change some aspects of them, that’s it. But it remains a good system. I liked it. I genuinely have really enjoyed fighting in this game and will be exploring all classes and specialisations thoroughly in my next replays, as well as exploring every difficulty. 

The writing

It’s fine. It’s brilliant, at times. Cringy, at others. And you want to know a secret?

You could say that about every god damn Dragon Age game, lol.

I’ve recently -- as in, very recently -- replayed the whole series in preparations for Veilguard. Not only did it have cringe-worthy moments in all games, but some even made me grimaces. DAO is staggeringly misogynistic both for its time and for its setting: You are told in the character creator that men and women are equal in Thedas only to constantly face outward sexism at every turn. It’s shocking. As for DA2, it’s weirdly mean spirited. It calls a lot of its characters crazy and makes fun of them for the meanest fucking reasons. It has a character who fights for his people’s freedom approve of you when you give another character over to a slaver, for fuck’s sake lol. It is very mean. This one is the most “product of its time” of all three, because DAO was misogynistic even for its time lol. And DAI… well, DAI is bland and lacks depth and feeling ina almost everything lmfao. 

Veilguard holds your hand a lot, especially in the beginning, and kind of babies you at times. It also suffers from painful expository moments. Thing is, I feel for Bioware: They have three games and dozens of side media’s worth of lore to explain to you, and have to keep in mind not only that some players will have never heard of Dragon Age, or that some have only played the games and never touched the side media, or that they played the games a whole DECADE ago and can’t remember shit. It’s hard. I would’ve done better lol but it IS difficult. I feel for them. 

Some things are a little less excusable, like the game REALLY holding your hand through a couple puzzles and through the fact that you need to focus on companions and do their quests etc. A part of me wonders if it came out of playtesting, or something. It definitely took me out of it a little bit, not gonna lie. It felt quite jarring. 

There’s a couple other things, like having far too much telling in places. I’d also have liked to do some of the cool stuff my Rook does in cutscenes within actual gameplay, lol. And there were beats where I was left thinking “... that’s it?”, which is never good. 

The codex entries are great and interesting though. Only game in the franchise where I read every single codex entries I found (AND I FOUND ALMOST ALL OF THEM!!!!). A lot of them are fascinating, but more are just very sweet or funny, and they help build the characters and the world. 

And my god, those characters are ALIVE. I truly understand when Bioware said they really put emphasis on the companions. There are so many cute banters, a lot of which you can catch in the lighthouse, as well as little scenes that mostly serve to humanise the companions and make them feel alive. Not only that, but you also get attached to a lot of NPCs -- and I do mean a lot. Each faction has NPCs I cared for deeply, and you always just get to visit them and talk to them, even if it’s just them saying a line or two of dialogue at you. It still helps to build a relationship with them, and care for them. And your companions interact with them sometimes, too! And they have history! It makes the world genuinely feel so much more alive and makes you feel so much more involved than you were in DAI! They manage to transform from pixels on a screen there to give you quests to actual characters with rich lives and feelings that you want to see succeed.

I romanced Lucanis and he is by far my favorite of the companions, but I love all of them. This means it’s the first game in the series where I genuinely really love all the companions. There was always one, maybe two, in each game whom I didn’t care much about or which pissed me off -- but they’re all immensely likeable here, and I care so much about not only my Rook’s relationship to them, but their relationships to each other. And there’s so many little banters, notes, and codex entries which helps further their bond and makes them feel like roommates. It’s very sweet and enjoyable.

I also love my Rook a lot. I played mostly as a sarcastic Rook who was very impulsive and wasn’t afraid to speak their feelings out. There are times you can express genuine fear, hurt, or anger at certain NPCs or situations, and the line delivery really carries it. They felt alive and involved, so much more than the Inquisitor ever did. My Rook has a personality, and not only that, but the way the factions were integrated was really nice. I played as an elven mage grey warden, and each of those bits came up a lot. I’m a bit miffed that you don’t get to choose whether you were dalish or city elf, and more miffed that the game/npcs try to explain dalish lore at you even when you put a wholeass vallaslin on your character, but aside from that I’m rather pleased with the integration of the faction. I imagine some factions (lords of fortune) got the shorter end of the stick - but playing as a grey warden was deeply rewarding in this game. Rook can make comment about it in dialogue, in banter, and other characters mention it too. I got to discuss the joining with another warden, and my Rook commented a few things about their time in the order. And it made my friendship with Davrin mean so much more, too. It also made every plot point involving the wardens hit like a TRUCK. 

And my god, do some of the missions in this game hit like a truck. The villains are believably terrifying. This isn’t Corypheus 2.0. I hadn’t felt this level of dread in Dragon Age since DAO. Some missions especially have rocked me to my core, and some of them I consider to be absolute masterpieces (Weisshaupt, my god Weisshaupt. My favorite mission in any Bioware game, period.) I wish the last boss had been scarier and stronger, though. I felt it did fall short in regards to that. Funny enough a lot of the side bosses were harder than main bosses. That was a bit sad. But yes, Elgar'nan and Ghilan'nain feel like gods that you are facing. It is so much better than DAI in that regard.

The game does make you care deeply about everything happening, I can promise you that. And it manages to make even vehement Solas haters like him. I used to be a Solas hater back in 2014/2015, though I did mellow out over my replays. By my last Inquisition replay I did come around to him and was just mildly annoyed at how popular he was because I still found him overhyped, mostly because he suffered from DAI’s bland writing. But Veilguard makes you care for him, and elicits a lot of strong reactions towards him. He’s made me cheer, and also made me feel extreme anger, and then a lot of sympathy. He’s a marvelously complex character and one of Bioware’s best. He went from being one of my least favorite characters to one of my favorites - potentially even top 10 material. This is high praise for me lol. 

The matter of bringing choices in is…. Well, not gonna lie, a few events I was like “hm, no this wouldn’t happen in my world state” or “oh I wish they took in account past choices for this scene/plot point”. It remains an extremely baffling choice from Bioware and I remain really pissed off about it, lol. 

The Inquisitor was fine. I’m not attached to the Inquisitor, so I’m not able to make many comments about them. I’ve seen other people who ARE attached feel happy about their inclusion, so I’d go with that. There were a few nice moments. 

Act 3 is absolutemy amazing, also. It's engaging and terrifying and broke my heart several times. I do not cry easily but I was left sobbing and whimpering at Bioware lmfao. Granted, it was my first playthrough, and my emotions were heightened by having a new Dragon Age game after so long. But I do think Act 3 is just... really, really good. It gets the point of the game across very well, too.

The lore

This… is where the game falls short the most, for me. 

Don’t get me wrong: we get a LOT of new lore and a lot of it is insanely satisfying when you’ve been in the trenches for a decade and had tons of theories. A lot of discoveries left me buzzing with thoughts, new theories, ideas, and excitement. It was exhilarating. 

But there’s many points where, as a guy who just casually reads the lore books for fun, I was left saying “uh, no, that’s not true” to “that doesn’t make any fucking sense”. Mostly, a lot of my issues comes with the integration of the politics of the game. Dragon age has always been a political series, in the sense that the politics of Thedas are just as important as any threat we face in the game. And for like 15 years, the north was built up in a certain way -- and in many aspects, Veilguard does deliver. In others, it feels like it glosses over very important lore, or just tries to gaslight you into thinking you were wrong all along. Some of it is clever recontextualising that I did appreciate, considering all the lore we DO know is in universe, which means biased by the areas we learn the lore from. But there are a few times where the lore breaks took me out of the game and felt very immersion breaking.

Unfortunately I can’t go to much further into this without spoiling anything, but it’s definitely where I was the most disappointed. It’s small things, it’s always small things, but it’s definitely made me either raise my eyebrows or be very disappointed at times. I’ve already spoken about a bit of it in previous posts, and need to write something lengthy about magic specifically. Just beware that if you are insane about the lore, it is where the game will fall short at points. But it will also offer you amazing lore in turn, so you know. It’s a balancing act. 

It feels like the writing has mellowed out in this aspect. It makes me wonder how different the past games would be, if written by these people. How different this game would've been, if it was written by past writers. Only game where I've gone "wait why am I not getting hate crimed right now".

Also the secret post credit scene sucks entire ass and ruins everything lmfao I am ignoring it entirely.

There’s obviously a lot more I want to say about many things. I want to talk about Lucanis, about Taash, about Emmrich, about Harding -- about everyone, really. But that’ll be for further, spoiler-full posts. 

I’ll also save some more in depth review for a later post because I wanna go play dolls in the character creator again.

[sukibenders]

Racism and misogynoir are so apparent in fandom, especially when it comes to shipping because why is it when a white male, sometimes female but I see it more with the former, character is on screen with a love interest, particularly woc, especially if they're black, and even with all the emotional scenes or just moments where they look at one another in ways different from the rest, it's met with "No, they aren't dating/the show is not going to put them together" but let the other love interest be white as well and suddenly it all makes sense? Heck, the examples I mentioned above don't even have to exist between the latter for some to STILL go and believe this rhetoric (eg. some Jace and Helaena shippers because, even if these two only interacted with a dance but yet we see Baela console Jace, after he seeks her out, apparently it's to far fetched to believe that Jacela could be a thing?!)

Sometimes it could be a headcanon that, largely, would make sense (and oftentimes was birth due to lack of respect that the poc characters could have been given by the writers *cough* TVD *cough*), and yet you'd still have people dismissing it left and right and spewing hate. At a HEADCANON! And I'm not saying that just because the other person in the ship is poc that you have to ship them, I'm not, but it's very apparent to many poc fans in fandom that unless the characters are swapping spit and doing the nasty, the possibility of them being viewed in any romantic lens feels too much of stretch even though their white counterparts don't have to jump through the same loops.

[makotonaegiunderstander]

something I’ve been thinking abt is how many people think Makoto is immune to despair. I don’t think he is. I think becoming the ultimate Hope was BECAUSE he felt despair. He wouldn’t have fully reached that point without Junko. Makoto becoming such a beacon was his last attempt to avoid completely falling and it wasn’t because he didn’t feel despair, it was because he was too damn stubborn to allow everything to go to waste and he refused to sacrifice his beliefs for someone else’s. His inner monologue tells me he DID experience the same new low the other suvivors did in the final trial, but at the point where he had the choice to give up and die, he looked at the others and he looked at Junko and he couldn’t allow it to happen, not out of self preservation, but because the idea that Junko would have control over their lives made him FURIOUS. and that utter refusal to die kicked in, wether luck or otherwise, and he made the concious effort for one last push while something in him was breaking. He had to be broken in order for the Ultimate Hope to come through so aggressively, bc it could only exist in the face of the Ultimate Despair. He snapped the same way she did, but in the other direction. In what could have been his final moments he chose to embody everything Junko wasn’t, and every single optimistic and luck fueled ideal in him suddenly charged forward and pushed him. It was a combination of the final straw and a choice. Makoto isn’t immune to feeling despair, he’s just too stubborn to fall into it of his own volition. I think that’s why I like that scene in DR3 so much. People were SO SHOCKED Makoto actually fell for the tape, that he actually became despair for a moment. I saw people getting mad or disappointed, saying it was pathetic and Makoto seemed to fall from some sort of pedestal for them. Honestly part of me wonders if that sort of mentality, which clearly people had in universe, affected Makoto a bit. Like he started to see himself as less of a person, subconsciously. Prompting him to take more risks, less self preservation, act way more bold. It seems he has to be reminded a lot not to put himself in danger by his friends, to not do something too reckless. All over the place I would see in regards to that scene either this frivolous ‘oh this was just angst drama with no meaning behind it’ or ‘he can do better than that. he’s so weak’ or ‘come on, there’s no way he’d fall into despair, he’s the Ultimate Hope!’ This kind of mentality, which was kind of ironic considering Ryota was there the entire time saying the same thing and treating Makoto the same way. Like Makoto was superhuman. Like Makoto didn’t feel despair the same way ‘normal people’ did. In a way that was also how Munakata saw Makoto. Makoto stopped being a PERSON to the world when he became Ultimate Hope, he became a concept, a belief system, much the same way Junko ascended beyond herself. But the difference is that treating Makoto that way is the opposite of the reason Makoto became such a representative for hope. He wasn’t doing something no one else could. He was doing something everyone had the chance to, he just… was a little more optimistic, a little more stubborn, a little more ‘gung-ho’ about things. He just took the lead where no one else did, where no one else knew they even COULD in the face of Junko’s unstoppable force. She had overcome the biggest threats and obstacles in the world, what could one person do? And the answer Makoto found was, anything. Everything. It doesn’t all rest on Makoto, he’s just the one that was inspired to try to do what seemed like the impossible. But as evidenced by the change in his friends after that trial, it’s clearly not something only Makoto is capable of. The others pulled out of despair thanks to Makoto, but it was their choice to do so.

“But… this world is so huge, and we’re so small. What can we do…? No, we can probably do anything. Yeah! We can do anything!”

[jin-zixun]

i think it's actually very brave to fight for yourself when no one else will, to insist upon your own self worth, if only in your own actions and self-preservation, when everyone around considers you worthless or unworthy.

If no one else cares about you, you will care, if no one else loves you, you will try to show yourself love to the best of your ability, even if you don't know it, if no one else will protect you then you will fight for yourself. Keep yourself alive. No one else will and it's you're no less worthy than who you're being told to put yourself to the side for, to die for, to admit you are nothing for.

It's trauma, it's resilience, it's survival, it's fight, it's advocacy, it's perseverance, it's natural, it's difficult, and it's brave.

[antianakin]

This encapsulates why I think it should've actually been Jacen Syndulla in Sabine's place if they REALLY needed to give Ahsoka a "Padawan" character to play with.

Jacen being very young would hit at her feelings about having been assigned early as a Padawan, especially if he is with her because he ran away from his guardians (whether that's Hera or whether he was staying with Sabine on Lothal at the time maybe, it doesn't really matter), so he has that same sort of impetuous recklessness that she and Anakin both had that gets him into trouble.

Jacen's youth and the fact that he'll never know his father would provide a really good explanation for him doing something as stupid as going along with Baylan just to get Ezra back. Maybe he just wants to connect to the person who everyone talks about like he's Jacen's brother. Maybe he wants to save Ezra because they CAN'T save Kanan and this is the closest he feels he'll ever get to getting his dad back. Maybe he just wants to prove himself to his family because they keep wanting to protect him and keep him safe and won't take him anywhere even remotely dangerous and he gets why, he does, they lost both Kanan and Ezra already, but if he can get Ezra back then maybe they'll finally let him DO things! Maybe he wants to get Ezra back because even though Ahsoka and Luke are theoretically there as options, he's insistent that it has to be Ezra.

Jacen's a blank slate character, we know who his parents are and he has a name, but other than that, he doesn't have a personality already which means he's basically just as good as an original character in this scenario. He needs to be fleshed out in a way Sabine simply does not, and so giving him a fatal flaw to overcome can only ADD to his character rather than taking AWAY from his character the way it did with Sabine.

And of course, Jacen being Kanan's child provides an obvious reason for his Force sensitivity. Even if you went with the idea that he WASN'T Force sensitive, or wasn't SHOWING Force sensitivity, there's more reason for Jacen to either believe that he COULD be Force sensitive or to just be really invested in becoming a Jedi no matter what. It might even be more compelling if he genuinely isn't Force sensitive at all, but he feels like that's the only connection he has to Kanan, the only way he can remember and honor his father he never met, and his arc over the course of the season is to learn to let go of that. He doesn't have to live up to Kanan and Ezra, he doesn't have to BE Kanan and Ezra, he can just be himself, and he doesn't need to be Force sensitive OR a Jedi in order to be worthwhile.

But if you need Ahsoka to have a Force sensitive child, it makes way more sense for Jacen to BE Force sensitive since there's an obvious connection there, and Jacen being a blank slate character means that there's absolutely no proof that he ISN'T Force sensitive in prior media that would make that choice really confusing (unlike Sabine where she's so clearly established as someone who isn't Force sensitive throughout Rebels and so they had to work REALLY REALLY HARD to explain why Ahsoka would ever take her as an apprentice and why Sabine would think this was a reasonable choice to make).

Sabine might not be his actual mother or his primary guardian, but she's somewhere in the realm of being his aunt/older sister and the connection there would clearly be very strong anyway, especially if Hera had dropped Jacen off on Lothal and Sabine was supposed to be looking after him for a while as Hera dealt with some other things on Coruscant or whatever and it's HER that Jacen ends up running away from.

It's not even like we haven't seen a variation of this done really well already with the Kenobi show where Leia is ALSO quite young in comparison to her titular character Jedi master counterpart. So Jacen being young doesn't have to be a reason for why he COULDN'T have fulfilled with this role in the Ahsoka show just fine if they needed a pre-established character with an easily explained connection to Ezra who would be willing to give up everything to save him and who could become Ahsoka's new padawan.

The only reason it had to be Sabine is because Rebels set up that Ahsoka and Sabine were going to go look for Ezra in their epilogue and that story got combined with whatever the original Ahsoka show narrative was going to be, which likely involved some sort of padawan character for Ahsoka to help parallel her relationship with Anakin. So in order for Sabine to remain a main player in the narrative and fit in with the already pre-established set-up from the Rebels epilogue, Sabine got slotted into that role. That was clearly supposed to be Sabine's story and putting someone else into the role of Ahsoka's padawan sidelines Sabine from the story quite a lot.

So even if you do put in Jacen or some other new character in the role of Ahsoka's padawan, you either run into the issue of sidelining Sabine in her own story, or you exacerbate the issue that already existed of there being too many main characters within one narrative which muddied so many things about the show since it was impossible to tell what the story was actually ABOUT or whose story we were meant to be following. The stupid show was a mess and it couldn't have been fixed by just tweaking one or two things. It needed to be wholesale ripped apart into at MINIMUM two separate shows if not three or even four separate shows (Hera's whole prequel to the Sequels narrative about the New Republic didn't belong in The Mandalorian, Ahsoka's narrative, or the Search for Ezra storyline; and if the Mandoverse needed an "Empire Strikes Back"-esque middle part, it should have been its own thing rather than co-opting Ahsoka and Sabine's completely unrelated stories).

The Search for Ezra as a story, and especially the idea of continuing the Rebels story through Sabine rather than through Ezra and shining a spotlight on her in a way that didn't happen very often in Rebels, is a GREAT concept. Whether it was exploring the edges of their known galaxy or going into a whole new galaxy, it opened up a lot of ways to be really creative while telling what could've been a really great parallel story between Ezra's survival and Sabine's search.

Ahsoka dealing with her past and her feelings about Anakin's betrayal was a necessary next step to her story that needed to be told and I was genuinely really intrigued to see how that got handled and how Ahsoka slowly learned to let go of all of her fears and pain and learned to embrace being a Jedi again after so many years. I REALLY wanted to see Ahsoka find her way back to reclaiming that identity after she had given it up and then had it ripped away from her. I wanted to see how Ahsoka taking back her own story was integrated with Ahsoka dealing with her feelings about Anakin's betrayal.

Both of these stories are GREAT on their own and really provide a way to highlight some of the best female characters Star Wars has ever had.

It's too bad what we got ended up being the most Frankenstein'd hackjob I have possibly ever seen that butchered two of the best female characters Star Wars has ever had.

Yknow, a lot of the Sabine characterization problems in ahsoka (having act like an impulsive teenager when she's almost thirty and was never like that even when she was a teenager and had grown out of her negative teenager traits by the end of Rebels) could have been solved if "Sabine" was a different character

And this "not sabine" could have still been connected to Sabine

How

Adopted daughter

Have the role of Sabine in Ahsoka be taken by an adopted child of hers, someone young and impulsive, has heard stories of Ezra Bridger and how much her mother and her adopted family that is the Ghost crew misses him and wants nothing more than to bring him back to make her family complete again, to the point of making several dangerous mistakes

And it also would have fixed the bullshit "sabine has the force now" nonsense