#from the settings to the characters to the story itself

[yamisnuffles]

DATV Spoiler Free Review

I beat Veilguard a couple days ago and have had some time to let it settle in my brain. So, without getting into the nitty gritty and more spoilery things, here are my overall feelings on the game.

The Great:

The world itself. The scenery. It was really gorgeous and felt fully alive in a way that none of the previous games have quite managed. Since it wasn't as open world as DAI nor as narrow in scope as DA2 (nor as old as DAO lol), it felt more vital. Definitely a place where the advances in graphics helped, I'm sure.

The Good:

The companions. I wouldn't say any of them blew me away but they all at least ranged from enjoyable to very good. I definitely had my quibbles here and there but I think they were all pretty solid. As such, though I've only done one romance, I'll suppose they're all good. A bit... sparse in my experience and from what I've been hearing, but nice enough.

Overall, I also think the story was pretty good. Like much in this game, nothing that blew me away, but solidly compelling.

Also, mechanically, the gameplay and the glamour system. It still doesn't feel like DA to me but it was enjoyable once I got used to it. It works well with how I play games. And it was nice to just set looks for myself and my companions and not worry about stats vs appearance.

Rook. I have some definite Complaints, and so this point is probably closer to the good to mid range, but they did a pretty good job with letting you pull in your faction stuff. I'm prevented from saying great because it feels like, even with what are supposed to be rougher dialogue choices, you're limited to being mildly pleasant.

The Mid:

The music. This is tragic to me because every previous game had some really standout songs and DAI especially was such a solid soundtrack. I love soundtrack music. Also because Hans Zimmer! I love Hans Zimmer. But the entire thing felt very generic epic fantasy to me. It wasn't bad but it didn't feel good. The only times I ended up moved by the music was when they lifted DAI songs.

The lack of imports. It wasn't the end of the world but did make some cameos feel really off. And for all the talk of making what few things were imported matter, that really didn't feel like the case at all (unless you were in a specific subset of players). I didn't care too much, but it was just enough to make things feel weird, especially with characters like Harding who are so attached to previous stuff.

The Bad:

The world felt so sanitized. I have no issue getting rid of real life bigotry that makes so sense in the context of the world. For example, the sexism in DAO especially made no sense. That said, there was a lot of in world nastiness that is just... gone. The game does a lot of telling us the elves have it bad but doesn't show it. No one bats an eye at a Tevinter mage running about outside of Tevinter. No one cares about a Qunari in occupied Treviso. I suppose it's not the worst thing in the world but it feels weird, especially when it's so central to Solas' motivations.

This sanitization carried on through pretty much everything. All of the factions are presented as good and heroic, even the ones that are historically pretty shady. Your companions are all pleasant and palatable. They have the occasional minor squabble but even when they almost have actual beef, it's solved super easily. You might get some disapproval for decisions but companions never seem to much care or hold it against you, even on really big things. I don't need DA2 levels of interparty drama but, boy did I want a bit more tooth sometimes.

The Awful:

I can't get into it without spoilers but it did a Thing that Bioware sometimes likes to do that I absolutely loathe. This is definitely personal but it ruined some of my desire to replay.

Overall:

I'd give the game a 7/10 or maybe 6/10, depending on how I'm feeling. It was enjoyable for the most part but it had so many things that felt like splinters. Lots of little things that stuck under my skin and bothered me. Would I recommend it? Genuinely depends on the person.

[m-says-hi]

Hello!

I have more sampo thoughts! Surprisingly, not about the recent event but an old event. Or not even the event itself, but something from after it

The memory bubble you get after Aetherium Wars.

Couple of things about memory bubbles before I bring up Sampo or this particular bubble’s contents. After some (admittedly brief) research on bubbles, I’ve learned they’re created by Memokeepers to preserve memories and are usually stolen from the original memory holder. In the game there are 21 memory bubbles. 20 of them belong to Herta and can be found around the Space Station. The last one is the one from after Aetherium Wars and is found on Jarilo VI.

I haven’t interacted with any of the memory bubbles myself, but I have read through all the dialogue and descriptions on the wiki. The 20 belonging to Herta all seem to put you in the pov of the memory holder. It tells it more like a story, kinda similar to Simulated Universe?

But the Aetherium Wars Bubbles only gives dialogue (very similar to Sampo’s character stories) making us more like an observer and not part of the memory. Unless we’re watching the memory of someone who was watching the conversation, but I feel like there’d be more description of the setting if that were the case.

I could go on about the content of the conversation, but I think we’ve all read through it multiple times. What really caught my attention was the beginning and end dialogue of the bubble.

(taken from the wiki. I haven’t done aetherium wars yet ;-;)

Four things stick out to me right away:

The game/The trailblazer’s thoughts notes this feels different

As I mentioned before, there is no description of the scenery showing up before you, but just two figures. My guess as to why is that this bubble wasn’t created by a stolen memory, but was made by the memory holder (or at least the memory holder was involved in the process). The memory holder being Sampo

2. There’s an implication that this bubble was left on purpose

This only adds to the point above. There’s a strong implication that Sampo left this for the Trailblazer to find. You also get an achievement for finding this bubble called Confessions of the Mask which. That kinda says it all.

But now I have two questions, the first being how? It's not said explicitly, but in a conversation with Herta it's implied that Memory Bubbles are only made by Memokeepers. So, if this was left by Sampo, either he got a memokeeper to help him (extremely possible) or he has the power to do it himself (extremely interesting)

My second question is why? 

Why would he tell us? Why is he telling us in this indirect way? My guess is it has something to do with his mask. The conversation in the bubble mentions Penacony and Sparkle. So,this was probably around the time Sampo started planning to go to Penacony to get his mask. I discussed this with a friend, and she suggested it might even be some sort of warning, which is why it’s done with a memory bubble. 

That sort of reminds me of the recent event, where Sampo spills a lot about the Fools and the Tavern, information that you would only really know as a Fool, but said it in a way that implied he wasn’t a fool. That he heard it from somewhere else, someone else, not that he knew it first hand. I wonder if his mask is sort of.. Making him unstable? (He grew increasingly dark every day) And the 7 day event was another warning. Warning of who he might become when the mask fully takes hold and a warning to not become like him

3. The game/the Trailblazer’s thought recognizes that there are multiple mysterious things about Sampo

Maybe this isn’t as important as I’m making it out to be. After all, we all know something is very Off about Sampo. But the Trailblazer recognizing it feels significant to me. It feels like further confirmation that eventually we will unravel these mysteries. Eventually.

4. “When talking to one who wears a mask, always keep your wits about you.”

This. THIS. This statement has been driving me mad since I first saw it. When I read those words I immediately thought of the translated statement from Topaz’s trailer:

“One who is unaccountably solicitous is hiding evil intentions”

(if you have no idea what I’m talking about, it’s one of my first posts)

The statements are not the same. But they feel so strongly similar, like they go hand in hand. Both are warnings. Both tell you to be careful about people who are not how they appear, people with masks and people who are falsely sincere. Both are talking about Sampo. Looking into this made me realize just how many times we've been warned about Sampo. Half of those times being Sampo himself

Something about it just makes my brain light up with possibilities and I feel like I keep pushing the statements together waiting for something to make sense and explain everything else, but I’ve yet to figure it out. So I’m left here just kind of going insane

But that’s all I have for now! Maybe someone else will have something

[jammed-out]

Hypnovember Day 11 - Video Game

(CW: transformation, feline transformation, master driven transformation)

KAT - So the new immersion chamber by synthetic labs is out. I'm thinking about getting one.

MST - You definitely should. I know a few people who have and they love it. Says it makes the game really come to life. In fact let's both get one. We can play together, what's that game you like?

KAT - Fictional Fantasy League. I know you'd love it!

MST - Fine. We can both get it and play together. What do you say?

---

A week later Kay was finishing setting up the box in the corner of his room when he got a message from Mary. Sure they had never met in person, but after gaming together for the last decade they were as close as friends as you could get.

MST - Hurry up. I can't wait for you to get in here.

Kay rolled his eyes turning back to setting up the chamber. It was not what he expected, the big dark box that sat in the corner of his bedroom without any noticeable details to it. Just a big glossy door with a handle sticking out of it. He was kind of nervous. Some of the recent stories about people using it and coming out, different seemed kind of suspicious but they were just stories online of course. People lie all the time on line.

KAT - Almost set up. You get started. I'll be right there.

MST - Don't keep me waiting long! You know how impatient I get.

Kay rolled his eyes and plugged the last cord into his computer. The installation started automatically and all he had to do was wait for it to finish. The green ping popped up and he quickly launched the game, his favorite, Fictional Fantasy League. He could hear the panel behind him start and unlatch itself, inviting him in.

He quickly undressed and opened the door stepping in. It was weird that they recommended using it completely naked but it seemed safe enough. Probably for the immersion part of it, he assumed. He slowly closed the door behind him and heard it seal tightly with a suction click.

Nothing happened as he stood in the darkness, waiting. Slowly the room pulsed green as a web of lights rose from the floor scanning him.

Initializing baseline mental and physical state.

It rose higher before disappearing into the ceiling. He didn't feel anything different, just as if he was scanned, which was, weird.

Baseline locked. Loading game.

Suddenly the room exploded in light. Everything was glowing, pulsing in a rhythmic warm hue. Slowly the lighting changed as pillars of stone loaded in around him. He was standing on a stone floor, in a field, surrounded by pillars lit by candlelight. Overhead, trees rustled in the air. Grass blew by. It smelled like, a field. He could feel the stone beneath his feet. It was sightly damp to the touch. Everything felt so real.

A menu popped up in front of his face. A character customization screen. He knew this screen, he had used it dozens of times before to create a character for the game. But this time, the character was him. He slowly reached up to the screen and wondered what would happen if he just nudged something like hair length. There was a tingle in his head as his hair grew longer, now touching his shoulders. He stopped surprised, maybe the stories online were true.

A notification popped up surprising him before he could go any further.

MST - Hurry up and get in here! Just use the character preset I'm sending you. Don't overthink it like always.

A file appeared at the bottom of the popup. All it said was "CAT". Must've been a joke of course or a mistype. Kay grabbed it and dropped it onto their customization window. Imported character models weren't new for the game, but Kay wondered what had been prepped for him.

He gasped and doubled over as his body erupted in electricity. His chest doubled in size swelling growing larger by the second. He could feel himself shrinking, his hips flaring outward as his waist pinched inward. He tried to stand up, to reach the panel but immediately tumbled forward off balance, falling to his knees. He looked at his hands on the stone ground, small claws and fur erupting from them, covering his hands. It kept crawling up and something shot out of his back smacking him on the head. He looked trying to catch only to bite his tail. Yelping in pain he scratched his head.

He stood up looking at his character sheet. There were so many words on it. So many things to push. He wanted to poke them all. They seemed so shiny. So fun. Like a game. He loved games.

MST - you coming? Just accept my request already.

Something popped up on the screen. Something new. With a flashing button. Kay quickly poked it and suddenly everything changed. The world blurred as trees spun into a set of warm wooden walls. It was some sort of tavern. He was sure he had been here before but it was so silly now to try to remember. Everything was so new this time. So original.

“Wow. You came out great Kitten! I hope you don’t mind me calling you that. You always seemed more like a Kitten than a Kat.”

Kitten turned around eyes glistening. Cloaked in a large flowing red gown with a circlet above her head was Master. Kitten beamed brightly, excitedly and skipped over nuzzling against Master’s leg.

“Head up now Kitten. Let me see your eyes.” Kitten obeyed looking up straight into a glowing purple spell.

“Much better. You were right. This game is great. Especially since I can use magic to change reality and better yet, you. Do you like your new body?”

Kitten nodded running one of his new cat ears under Master’s hand. The lights twinkled twirling around his head, digging into his brain, changing his thoughts.

“I’ve been thinking Kitten. We should meet in the real world. Especially as soft and docile as you are now. It’s not safe for a Kitten to be all alone.”

Kitten twisted his head confused. A flash of the light however remedied that. It made sense. Kitten shouldn’t be alone. Kitten should obey commands.

“Good. Now what do you think Kitten. I only went for half elf, but I was thinking you’d enjoy something a bit larger in the future. But how about you show me that cute little butt of yours so we can see just how immersive this really is.”

Kitten did a little twirl, head still turned, facing the glowing spell. He bent down, raising his ass up in the air, giving his tail a swish. “Mrow.” He said with a little wink. His cock twitched eagerly as he rubbed his swollen breasts against the ground. Hopefully Master enjoyed using him.

[datshitrandom]

‘Maybe Happy Ending’ Review: For Robots, Is It Love or Just a Hookup? by Jesse Green

"The same applies to the acting, which is daring enough to tell the robot story yet not so extreme as to obscure the human one. Criss, who has sometimes seemed stiff onstage, is especially fine here, delivering a startlingly gestural performance, all tics and glitches, that never obscures the true feeling within. The trap of twee is thus thoroughly avoided. And Shen, making a confident Broadway debut, similarly backfills Claire’s facade of wit and smart-girl impatience with the surprise and pain of newfound affection. Though she also sings, as Criss does, divinely, their singing is never an end in itself; it is how we feel that their story is ours. And when their duets become trios with Duron’s Gil Brentley, we understand just how powerful popular music can be: It has given these robots hearts." [..] "A good question for robots and, as posed by this astonishing musical, maybe the most deeply human one of all."

‘Maybe Happy Ending’ Review: Broadway’s Deeply Moving Robot Musical, Starring Darren Criss, Teaches Us How to Be Human by Christian Lewis

"Both Criss and Shen give excellent, very different performances. As an older model, Criss is purposefully more robotic: angled arms, stiff neck, straight spine, minimal facial expressions. His commitment to the physicality is remarkable and impressive — you might only fully appreciate it during curtain call, when he walks and emotes normally. He is the stronger singer of the pair, but his roboticness, though true to character, can make him slightly harder to connect to. (His silent-film star makeup, by Suki Tsujimoto, is also distracting.) Shen, on the other hand, feels practically human, and there’s more pathos to her pained performance, especially in her awareness of her own impending mortality." [...] “Maybe Happy Ending” is an undeniably moving, well-made, adorable musical, and it is a pleasant surprise to see an audience weep at a show about two robots in love. The musical makes the bold claim that maybe we are not that different from robots after all, or that they are not that different from us. Just as robots have much to learn from humans, we in turn can learn from them, especially how to care for each other and for ourselves. It’s crucial to know when you need to charge your battery, but likewise it’s important to be willing to share that charger with someone in need."

‘Maybe Happy Ending’ Broadway Review: Darren Criss And Helen J Shen Delight As Lovestruck Androids Dreaming Of Electric Cheek by Greg Evans

"It takes a special type of theatrical talent, one loaded with heart and wit and insight, to imbue something that looks like an Apple MagSafe iPhone Charger with more romantic appeal than a decade’s worth of Valentines Day chocolates, but that’s just what the creators and performers of the delightful musical Maybe Happy Ending have achieved." [...] "Featuring marvelous performances from Darren Criss and Helen J Shen as two obsolete “helperbots” retired to rooms in a sort of well-appointed robot hospice center – think those all-the-rage tiny houses as if designed by Pee-wee Herman – Maybe Happy Ending is set outside Seoul at some point later in this century. It’s a world that seems distant enough to quality for sci-fi, but familiar enough to look like that eye-candy Mid Century Modern furniture catalogue you got in the mail last week."

‘Maybe Happy Ending’ Broadway Review: Definitely a Big Hit Starring Darren Criss by Robert Hofler

"Oliver is an older model, so Criss delivers a lot of robotic mannerisms — there’s a distinct jerkiness to his gestures and gait, his speech sometimes emphasizes the wrong syllable. All and all, Oliver is a remarkable achievement and brings to mind Haley Joel Osment’s David in Stephen Spielberg’s “A.I.,” if that boy robot had ever been able to grow up." [...] "More than delivering big, Arden knows how and when to hold back to make the audience a participant. His direction never fails to activate the imagination."

Review: ‘Maybe Happy Ending’ Is the Best New Musical on Broadway by Tim Teeman 

"The show begins with Claire requiring a battery recharge, so knocks on the door of neighboring retired robot Oliver. He takes so long opening the door when he does so it is to her frozen, temporarily without-power figure. A nervy, very particular robot himself (whose most intimate relationship is with his houseplant HwaBoon), Oliver doesn’t know what to do. Criss plays him with the coiffed handsomeness of a K-pop star and the stiff gait and easily-rattled manner of C-3PO (he has the added skill of really knowing how to decorate a small studio space)." [...] "Criss erupts with puppyish excitement and panicked worry, while Shen gives Claire a defiant edge that co-exists with a resigned fatalism." [...] "In the end, you are not only rooting for Claire and Oliver, but also for them recognizing the intricately weird routes we take to figure out what and who we love, and what and how we feel as we do so. For a musical about robots, Maybe Happy Ending is a very human show about not just the value of connection, but also the life-saving, heart-expanding importance of us recognizing that value."

Maybe Happy Ending: Beguiling Musical Charmer from Korea by Michael Sommers

"The performances of Darren Criss as the chipper Oliver and Helen J Shen as the clear-eyed Claire are not so utterly adorable as to be cloying, but they are pretty adorable anyway. Dressed by designer Clint Ramos in cute boy-bot duds, Criss’ slightly androgynous looks suit Oliver’s character, whose movement reveals subtly robotic gestures. Making an auspicious Broadway debut, Shen gives her sensible Claire a warm voice and presence. Another newcomer, Dez Duron looks sharp and sounds dreamy as the big band singer. Marcus Choi, Arden Cho, Jim Kaplan and Young Mazino ably depict various people throughout the story." [...] "Lately there’s been audience complaint – if chat boards can be believed – how some recent Broadway musicals blast out hellishly loud, banging music. Maybe Happy Ending is surely the balm for any such feelings, since its sometimes jazz-inflected score is orchestrated gently for mostly strings, keyboard and woodwinds with exceptional grace by the composer."

Darren Criss in a robot rom-com that will fly you to the moon by Naveen Kumar

"Their single-occupancy apartments are the vision of urban loneliness. Flashbacks to the cozy but bleak self-sufficiency of solo pandemic-era isolationare inevitable for some of us when Darren Criss, who plays a model No. 3 named Oliver, sings an ode to the world within his room. (I’m not saying I also sang to my favorite plant, but I’m not saying I didn’t.) Part toy box and part hypermodern studio, Oliver’s is a space for maintenance and introspection. Claire, a more-advanced model No. 5 played by Helen J. Shen, comes knocking because her charger is busted and she needs some juice. (Newer models have advantages, but Oliver is quick to point out sacrifices in durability.) Oliver, who inherited his owner’s appreciation for Duke Ellington and Bill Evans, moves like a graceful marionette; Claire carries herself like a regular girl next door. There’s an offbeat ease to their chemistry, and Criss and Shen are both lovely singers with an unshowy confidence that’s become all-too rare." [...] "The Broadway debut benefits from the swells of self-reflection many of us have waded through in the meantime — about what makes us who we are, why we want to be with each other and how long any of this is really going to last. Whether anyone’s ending turns out happily or not, at least we have the choice to be together."

‘Maybe Happy Ending’ review: Darren Criss shines in one of the best musicals in years by Patrick Ryan

"[...] Criss, on Broadway for a fourth time, is delightful as the eager-to-please Oliver, whose sunny outlook gets clouded by the sobering realities of life. Portraying a fish out of water, one could easily overdo the robot’s wide-eyed wonderment and stiff, mechanical movements. But the “Glee” star is smartly subtle, deftly landing many of the show’s funniest punchlines and sight gags. (In a clever bit of stage magic, Oliver briefly short-circuits and smokes up after nervously downing a cocktail.) " [...] “Maybe Happy Ending” is undoubtedly the most original musical to grace Broadway since 2022’s “Kimberly Akimbo,” another small story with big ideas and even bigger emotions. With gentle humor and pathos, Park and Aronson manage to tap into the most human of questions: Is it still worthwhile to love, knowing that pain and loss are inevitable? "It’s the kind of show that’s hardwired to make you cry. But judging by the resounding sniffles from our audience, there’s nothing artificial about this rare, tender gift of a musical."

MAYBE HAPPY ENDING: A Visionary Ode to Emotion — Review by Juan A. Ramirez

"The story concerns Oliver (Darren Criss) and Claire (Helen J Shen), two “helper-bots” residing in a sort of purgatorial dorm for obsolete technology in near-future Seoul. Oliver is all bright smiles, perfectly gelled hair, and a ‘50s sense of politeness, which gives Criss a chance to play into his own squeaky-clean persona, and wring humanity out of a Kabuki-level performance of surface sheen. (Clint Ramos did costumes; Craig Franklin Miller hair; Suki Tsujimoto makeup.) He’s spent the past decade or so mindlessly amassing stuff he gets delivered, poring over the Jazz Monthly subscription his owner left him, and hoping he’ll one day return for him. " [...] "[...] One becomes aware, throughout its lush 100 minutes, of what a humbly groundbreaking experience is unfolding onstage. This is a very special show; a tender, visionary ode to the space we’re able to create and hold for feeling, and the hope that it may continue."

‘Maybe Happy Ending’ Review: Robot Love by Dan Rubins

"[...] Arden deploys a series of theatrical gestures too breathtaking to spoil here. It’s stagecraft that illuminates the musical’s messages about the value of looking up and outward from our devices while simultaneously pointing towards theater’s unique ability to transcend technological bells and whistles in the service of a more natural, unadorned beauty. Criss and Shen, too, turn the slightest of touches into electric connection. Criss, expert at gluing a not-quite-human grin to his face and circling Oliver’s apartment with mechanical grace, lets his rigid, aloof character gradually thaw out. He inherits a century-spanning tradition of musical theater characters, from Marian Paroo to Henry Higgins, slowly shedding their tough exteriors, unleashing a bottled-up potential for passion, though Oliver just happens to be a literal robot. Shen, charmingly kooky off-Broadway in Teeth and The Lonely Few earlier this year, makes an explosive Broadway debut as Claire: Only 24, she has a preternatural gift for marrying the tender and the deadpan. Both do Aronson’s music, which he orchestrates himself with a richness that deliberately belies the HelperBots’s artificialness, full justice." [...] "[...] But a musical made as well as Maybe Happy Ending deserves to be with us for some time to come."

Maybe Happy Ending review: Darren Criss is effortlessly charming in a visually dazzling romance between robots by Shania Russell 

"Shen and Criss share an easy chemistry as Claire and Oliver, a mismatched pair who delight with their charming interactions. As the older model, Oliver is the more robotic of the two, an amusing distinction for which Criss nails the physical comedy. Oliver is gleefully stilted where Claire is natural and relaxed. Together they are playful, his sass matching her snark, his optimism complementing her jaded outlook. Despite the perpetual pep in his step, it's Oliver whose path forward seems unclear, as Claire embraces the potential offered by the time that remains to her. From that push and pull emerges a constant, endearing tension." [...] "Despite Oliver’s earnest nature — familiar territory for the Glee alum — Criss is not the one stealing the show. Charming as Oliver’s pronounced quirks are, his interiority feels as though its held at arms length — especially when compared to Claire, whose fraught emotionality pulls focus courtesy of Shen’s moving performance. Oliver may have his optimism challenged and his nerves tested, but he remains much the same, clinging to life’s simple joys. Alas, charm goes a long way. Criss is often his most compelling when given a character with edge (his stint as the titular East German rocker in Hedwig and the Angry Inch or his Emmy-winning turn in The Assassination of Gianni Versace: American Crime Story) but here he is charming, spirited and wonderfully funny." [...] "[...] There’s nothing robotic about this production: it wears its heart on its sleeve and on charm alone, succeeds"

Review: Maybe Happy Ending With Darren Criss and Helen J Shen, a Balm for Trying Times by David Gordon

"From his stiffly humorous movement (choreographed by Moni Yakim) to the unblinking sincerity in his delivery, Criss is immensely impressive as he captures the discreetly emotional essence of this outdated bot. His tightly coiffed hair (styled by Craig Franklin Miller) and shellacked makeup (Suki Tsujimoto) go a long way in helping him bring us to an uncanny valley that’s legitimately freaky. Shen is effortlessly charming, infusing Claire with a shy humor that makes her utterly lovable. Together, they share such easy chemistry that you find yourself rooting for these two lonely robots to be together forever." [...] "Despite its flaws, Maybe Happy Ending exudes an undeniable charm and warmth, which sets it apart from many other new Broadway musicals these days that go for bombast over emotion. Refreshingly original, this story about two robots who, for a brief moment, meet each other halfway, becomes a poignant celebration of finding connections in an ephemeral world. It’s a comforting reminder that love and friendship, however temporary, make the journey worthwhile."

Maybe Happy Ending. These are the robots you're looking for by Adam Feldman

"In a Broadway landscape dominated by loud adaptations of pre-existing IP, Maybe Happy Ending stands out for both its intimacy and its originality. Arden and his actors approach the material with a delicate touch; they trust the romantic comedy to be charming, which it is, and let the wistfulness emerge naturally. In the faint artificiality of both his movement and his appearance–pale face, neat dark hair, red lips, high-waisted pants—Criss’s Oliver endearingly evokes the silent-film clown Buster Keaton. (He also sometimes suggests a neurodivergent adult.) Shen’s more naturalistic Claire—she’s a Helperbot Five; he’s just a Helpbot Three—has a winsome, Eponine-y combination of pluck, resignation and piercing pop-vocal emotion." [...] "Can a show as strange and special as Maybe Happy Ending find a place for itself on Broadway today? I like to think that maybe it can. But as the show reminds us, everything is ephemeral: “We have a shelf life, you know that,” says Claire. “It’s the way that it has to be.” The fact that this show is casting its firefly glow on Broadway at all feels like a gift. In its gentle robot way, it helps us see ourselves through freshly brushed eyes."

Maybe Happy Ending review: heart-grabbing robot Broadway musical by Adrian Horton

"This refreshingly original musical, first staged in Seoul in 2016 and directed here by Michael Arden (most recently of Broadway’s excellent Parade revival), makes swift work of time and space; sheer layers of digital displays (video design by George Reeve), impressively constructed modular sets (scenic design and additional video design by Dane Laffrey) and Criss’s rote movements succinctly illustrate the patter and (robot) heartbreak of Oliver’s daily routine over 12 years in the Helperbot Yards, waiting for an owner who never comes back." [...] "[...] Criss’s at first overtly physical performance – the startled, staccato movements and jerkiness of a machine – settles along with Clarie’s scorn into beloved familiarity over the course of the show’s 1 hour and 45 minutes. Both robots struggle with their obsolescence and hard drive memories of past humans, and the strange tale kicks into gear once they hit the road as reluctant buddies in a quest for answers." [...] "Which may hit one’s hardened soul – it did mine, a bit – while still pulling some punches. You will likely leave without a song stuck in your head, but with a lump in your throat nonetheless."

‘Maybe Happy Ending’ review: Romantic robot musical is glorious on Broadway — really by Johnny Oleksinski

"The sublime start of “Maybe Happy Ending” is the closest I have ever come to experiencing a Pixar movie on Broadway. Oliver, a lonely robot played by Darren Criss, goes through his usual daily routine — over and over and over again." [...] "This big swing of a musical wouldn’t work without the perfectly tuned performances of Criss and Shen. These roles could easily be twee and irksome — they are anything but. Criss’ Oliver is a smiley mix of J. Pierpont Finch from “How To Succeed” and Pee-Wee Herman with a bit of earnest boy next door. He’s a bucket of bolts with a heart of gold."

When Robots Meet Cute: Maybe Happy Ending by Sara Holdren

"Park and Aronson get a lot of mileage out of the pair trading barbs over their different model types — one of the most genuinely funny bits involves Claire recalling a function by which the Helperbot 3 must respond with “You’re welcome” any time someone says “Thank you” — and it’s all very Threes Are From Mars and Fives Are From Venus. It’s a little easy, but the show’s not trying to be hard, and Shen and Criss are the ones who make it work. Shen especially is a delight to watch, with an open, emotive face full of quicksilver expressions and a tartness that can turn explosive when she needs it to. “You just said it was my turn!” she roars at one point during a shared song in which Oliver keeps blithely noodling over her. It is — another requisite of the genre — #relatable." [...] “Why, love?” croons Gil Brentley from Oliver’s record player. “Why did we bother to try love? … When all things end in good-bye, love, / Why did we dream that this fate would not be ours?” If you find yourself cruising the streamers at night, sipping chamomile tea and searching for Sliding Doors and Sweet November and French Kiss, then Maybe Happy Ending is waiting for you."

[lamemaster]

Yandere the Silmarillion Elves

Request: Hello! May I request yandere headcanons for Maeglin and Maglor (separately), perhaps with a human reader? Also, I really love your blog you write incredible stories :))

Pairings: Maeglin x human reader & Maglor x human reader

Genre: Dark themes. Maeglin's is gorey >"<

AN: Thank you for requesting this! I enjoy writing dark themes and this definitely was my cup of tea. I hope you like it.

Next up- Finrod x Valyrian! Reader Fall trope event list

Maeglin- (yandere reader)

A mangled mess of limbs was how you found him, withering beneath the ruins of the fallen city.

Somehow, against all odds, he lived. An amalgamation of mass bound to a body. Condemned to survive in a body tortured by death’s refusal to grant him peace.

He had endured this state for nearly a year, trapped between life and death, as if the world itself were determined to deny him release.

And then, there was you. As a wandering bandit, the sight of Gondolin’s ruins had seemed a fortune, a treasure mine promising riches to last a lifetime.

Yet amid the remnants of shattered stone and splintered wooden furniture, there he lay—the last survivor of the city’s fall. The one who instigated it all.

The incestuous bastard who, miraculously, had survived it. Every elven bards’ latest villain, the one sung of in recent ballads with curses on their lips.

You lifted the broken elf, cradling his twisted form—if his position could even be called that. His eyes, devoid of lids, remained fixed on you, unblinking, raw from months of crying out for help that never came. Gods, even now, he was beautiful.

Thus began your labor. Five days passed as you set bones that had grown crooked with time, wrapped him in scraps of cloth salvaged from the ruins, and nursed him with poppy milk poured into his helpless lips. With his face streaked by dried tears, he grew drowsy, finally slipping into fevered dreams.

As he lay shivering in your arms, lost in visions of a life that had abandoned him, you brushed your hand over his unmarred skin, tracing the contours of his trembling eyelids.

You murmured softly, your voice a mix of promise and threat “I would never let anyone hurt you. They’d have to get through me first... and believe me, they wouldn’t make it.” As if your reassurance could pull him back from his dreams of the past life without you.

Here, in the grave of his past, he was yours. No one would come for the one even death had forsaken. He was yours alone, bound by fate’s cruelty and your own claim upon him.

Cupping his damp cheek, you grinned, a glint of madness in your eyes. “My darling incestuous bastard,” you whispered, a low cackle slipping from your lips.

Maglor- (yandere character)

Maglor would follow you into death. Not even Eru Himself could hope to take you from him. No one would ever take what was his, not again.

The wedding was swift. In fact, the secondborn Fëanorian had insisted upon it within weeks of meeting you, brushing aside your hesitations with fervent kisses.

Your concerns about the doom of mortality were hushed in whispers and promises; if death was a gift granted to Men, then Maglor would seize it back from its giver. His breaths would ebb and flow with yours. Nothing could alter that.

It was all he could do now. Time had sharpened his resolve, even blunted the burns of the Silmaril, leaving behind only faint scars.

He had glamoured away his past, letting his skin heal so he could become the perfect lover for you, forsaking his true name for a new one.

Peldis, he called himself. A mountain elf from distant valleys. By sheer luck, you hadn’t noticed the faint scent of brine lingering about him, nor the care he took in combing his tangled hair until it shone.

You hadn’t glimpsed the quiet ferocity with which he shed his former self to stand before you, a stranger made whole in the reflection of your wants.

It had been one fateful night, when the ache of the Silmaril consumed him, that he’d first seen you.

Or rather, he’d caught sight of you wading in moonlit waters, bare as the light itself, utterly unguarded. He hadn’t looked away. The years had been long, and the Fëanorian had been starved.

The vision of silvery moonlight tracing your body had entranced him, struck him with a longing sharper than any oath. 

You were it, he thought. The Silmaril reborn. Perhaps even better than any of his father’s works. You were more than a cursed jewel.

Like a viper shedding its skin, Maglor transformed himself into Peldis. A convenient presence in your village, a simple trader of carved wooden combs.

It had not taken him long to notice the way your own hair flowed down your back like silk, and he knew, watching you, that you would come to him.

From offering a delicate comb for your hair to placing the ring upon your finger, Maglor had orchestrated each moment, each touch.

The songs of your fairytale romance made it easy to draw you into his arms, into the warmth of your bed, far from prying eyes and whispers.

And there, as he held you close, his touch guiding you deeper into his embrace, he tugged your soul into a quiet submission, bending your will and your mind to his desire.

Maglor knew what was best for you. And in this life, that place was here, wrapped in his arms, your heart tethered to his.

Even in the harmony of the Timeless Halls, yours would be the song he would compose. His muse. His beloved. You were his, now and forever.

[beachyserasims]

The Lonely House

On a cold autumns eve in a modern rented house, a small family sits down together after a Harvest meal, bellies full and hearts open to share. They traveled here from different places to meet one another, some from as far as the rocky mountains and beyond. But in the past, they all lived together in their quaint family home, in a small prairie town just outside of the city. They reminisce about times they spent there, each recounting their own isolated experiences. Throughout the conversation, a pattern is clearly seen, and they all begin to agree on one truly disturbing reality… That house was definitely haunted.

This series contains 3 very short stories, a bit of poetry, and graphic art related to The Lonely House.

This series is non-fictional and rated +18 for mature audiences only.

Click for trigger warnings and tags related to this series.

Enter here… if you dare.

[bonefall]

Hey, what makes a character a 'plot device but not a character'? And how do you not do that? I'm trying to do it on purpose but also I need to still make them interesting because it's on purpose, yknow?

A good skill to pick up is to learn to criticise criticism itself. A "plot device" is simply a thing that moves the plot along, it's a neutral literary analysis term! Usually, when people are angry that "a character has been used as a plot device," it doesn't mean they hate plot devices. It means they're gesturing at something deeper.

Runningwind and Bumble are equally plot devices in their deaths. They are both killed by the antagonist to escalate political tension. Runningwind is rarely "accused" of just being a plot device, and yet, we're talking about Bumble for the same thing.

So, why?

Well, Runningwind is just a background character, but in life, he was a part of the community. He was characterized as impatient but responsible. Yet, he wasn't SO important that he died with a bunch of unresolved plot threads.

He is mostly an extension of the entity of ThunderClan. His killing by Tigerstar, and the fear and paranoia that settles on the group after this, feel like a progression of the story insteas of something forced.

Bumble, on the other hand...

Is hated immediately by Gray Wing, when she's established as Turtle Tail's friend. Bumble's abuse at Tom the Wifebeater's hands invites even MORE investment. The rejection is shocking and upsetting. There's a story there about our main characters being imperfect; jealous, bigoted, and judgemental.

But, she is simply killed off. Everything they set up for this character is gone with little personalized fanfare. It's not a tragedy with a lesson about cruelty, or something anyone regrets.

It's just... plot. Gray Wing whinging that no one will like his shitty brother now that his body count is 2.

More than that, in the discussion of women in particular, "Fridging" was coined to give a name to the way women characters often don't get their stories told at all. There is a CULTURAL trend of female characters facing disproportionate violence, for the sake of advancing male plots.

Bumble has a lot going for her. Petal had a lot going for her. Turtle Tail had a lot going for her. Bright Stream had a lot going for her. When they died, they took their potential with them.

It's not always wrong to kill off a character of high potential, mind you. In Gurren Lagann, Kamina's death is sudden and shocking, leaving a massive hole in the hearts of the cast that never heals. Grappling with that loss, but also letting his memory fuel them, is a major theme of that story.

All that to say... there's no formula for avoiding it. You've gotta identify what the deeper issue is, in your specific narrative.

I can't say for certain what that will look like for your story, but here's some things I keep in mind;

When you make characters who exist to die, make sure they're people before you axe them.

Ask yourself; what about them does the cast miss?

If they just miss them because they were (pre-existing relationship), go back to the drawing board.

Fluttering Bird as an example. Who was she? Dead sister. Why do they miss her? Dead sister. No traits until after her death.

Runningwind was short-tempered and helpful. Kamina was a valuable leader who made people believe in a brighter future. Swiftpaw was fiesty and desperate to prove himself. The better characterized, the more profound the loss usually is.

If this is a female character who is dying just to serve the plot, be aware of cultural bias and tropes. How is the gender ratio looking in your cast? Is this happening disproportionately with your girls?

Note how Quiet Rain's litter had both a boy and a girl, but the girl was chosen to be "weaker" and wither away.

And how most of the time in DOTC, whenever a man had to be upset, a girl would get killed for it.

If you ever feel like the character on the chopping block is NOT a full character, ask yourself why it needs to be a character at all. You don't need to spend narrative time building out someone when a literal object of high value might suffice.

"My sister died when I swore to protect her and I can't face my family" = Old. Tired. Ive seen this.

"I lost my heirloom sword when I swore to protect it and I can't face my family." = Fascinating. Why was the sword so valuable? Will they really not take you back? How did you lose it?

When you do kill off "high value" characters, try to make sure you're not leaving too many plot threads hanging. Or at least make a point of how they will never get closure.

[cursedvibes]

I'm simply gonna treat jjk like Naruto. If Kenjaku (just like Orochimaru) survives for no apparent reason only to live their happy gay life far away from the protagonists' bullshit, then I fully support it. Who cares about whatever else happened in the ending, about the lack of consequences or gravity to the situation, when Kenjaku and Takaba are having fun and doing comedy together.

If we do get a Part 2, it's just gonna be another Boruto situation. I'm tuning in if we get a glimpse of Pinchan and a hint at Heian lore and that's it.

[waterlinkedgirl]

Musical Touken Ranbu: Michinooku ~ Hitotsu Hachisu (Michinooku ~ A Single Lotus)

Here we go! Only a few days after the archive release and toumyu's ninth anniversary (congratulations!)

Michioku, or Michihasu, is a myu I have many conflicting feelings about, both positive and negative. However, I do believe that with the right amount of care in the next Mika-related story myu, the negative can still be cleared. Plus, I'm glad about a lot of things being re-established. The writer does need to step up her game a little on the plot-writing side of things, as well as the understanding-and-respecting-past-myu side of things, but as long as she does, this can still be given a proper place within what was already established.

Keep in mind that these are only the subtitle files, timed and tled to the DMM senshuuraku and the bluray respectively. The archive version will have a talk at the start, so the starting times of the subs will have to be delayed accordingly.

You can find the subtitles and my TL notes document here!

[bmpmp3]

everyone on earth probably has a hypothetical farming sim in their mind's eye that they daydream about on occasion because of the unfortunate situation that despite there being like a thousand farming games released every minute only like 4 of them are any good. and i think this is fun, i think its good to keep the imagination alive. if i made a farming sim i would bring back rival marriages from the old friends of mineral town. i want to steal someones wife.

[flythesail]

I'm probably overthinking Qimir's backstory because this far in I want it to be somewhat shocking/worth the wait, BUT... I believe the "tragedy" of it should come from simplicity

[theramblingvoid]

I think the biggest thing about Sunless Skies that gives it a different feel than Fallen London (other than the obvious gameplay differences) is the position of your player in the universe. In Flondon, your character is important and singular. The storyline is oriented around mastery and influence: starting from the bottom and climbing to the top, gaining recognition and reach as you unravel the world's secrets. While social play is encouraged, there are few in-game characters comparable to the PC, and in many plotlines the idea of being the only or the first one to accomplish a certain thing is specifically emphasized. The story is about what path you take to Make Your Name.

In Sskies, that goal is not absent, but there's a sense of...fleetingness, that never quite leaves you. There are many others like you. You see their entries in the cache logs, they are mentioned in the ports and pubs, you find their frozen bodies littering the open void like stones. It is the very first thing you know when you start: you are a Captain filling the shoes of a predecessor, and in all likelihood simply keeping them warm for the next to come after you, and the next. Your time is limited. Your significance to the wild, vast, ancient skies is negligible. The drive in the story comes from this: Your space in this universe is small and hard fought. Make it count.

[front-facing-pokemon]

[mediumsizedpidegon]

thinking about Shang Qinghua as a calamity again...

[panvani]

i’ll be real i did expect hello charlotte to be pulled on me but regardless. i do understand noé feels no *desire* towards children but the majority of the characters who commit acts of sexual violence don’t feel attraction for their victims, but they are still portrayed as vile for it, and noé feels really exempt from this? for example, i sincerely doubt ruthven is attracted to jeanne, but he is still portrayed as despicable for sexually abusing her. similarly, i doubt luna felt such inclinations towards their children, or even had any desire to hurt them, but i have no choice but to call them a pedophile seeing as they definitely sexually abused both vanitas and mikhail. i get the feeling that the author is concerned that fans may dislike noé, and is just running herself frantic telling us he is a nice person. which i don’t really think is a cause of concern since i’m pretty sure people love vanitas despite what he’s done. i guess i’m just not a fan of how the story is handling noé.

I think this is all a very reasonable response to the story and the way it's presented and I in large part agree. The last few chapters especially have, I think, been pretty odd and tonally discordant with the series as a whole. I have a few ideas as to why this might be (including that the author... is evidently having some personal issues right now) but for now I'm treating what has been presented recently in good faith and assuming the story will generally continue with its established themes.

All that being said, I think a very important thing you're missing in this analysis is that Noé is the narrator. Every moral judgement made explicitly by the narrative is, in fact, Noé's judgement, and the thing that makes Noé interesting to me is how effectively this fact is erased, despite his being the narrator having been explicit since the first chapter and repeatedly brought to attention since.

You're in fact completely correct that the story exhibits a lot of inconsistencies in its moral judgement specifically when it comes to Noé; it's also made clear that Noé is an unreliable narrator and extremely inconsistent in his moral judgement. In a particularly obvious example, the chapter immediately prior to VnC's year long hiatus has Noé dismiss his own sexual assault on the basis that Chloé and Jean Jacques are "nice people," which multiple characters immediately acknowledge as disturbing.

The arc in which Noé assaults Misha is by far most overt about emphasizing that Noé is both morally inconsistent and an unreliable narrator. The arc is framed by Domi's account of Louis's death and how it differs drastically from that which Noé previously gave, and its conflict, in contrast to previous arcs, mostly relies on Noé's failures to appreciate his relationships and the effects he has on others. He loves Domi, but is ignorant to the abuse she faces and her feelings toward suicide. He's obsessed with Vanitas, but as repeatedly pointed out, he knows almost nothing of substance about him, and is particularly blind to Vanitas' feelings towards him. In this arc, Noé (who is being presented as 'neutral' narration) contradicts his own account of his first meeting with Vanitas, then acknowledges that he ignored his own capacity to cause Vanitas harm. In this arc, a third party explicitly states that Noé's capacity for violence stems mostly from Noé's self-assurance when it comes to his own morality; Noé understands himself as a good person with strong principles, and so Noé assumes any action he perpetuates is morally righteous or at least neutral, regardless of its effective violence. I do not think it was an accident that all of this happened in the same arc!

I think it's also important to point out that all of this is a very long time coming in terms of Noé's character development. Noé's driving conflict as a character is mostly that he is very principled and very strong willed, but that these principles were developed were developed in effective isolation, and quickly break down when applied in real moral quandaries. Noé is a very good person in the abstract (he clearly has a real understanding of sexual consent, unlike Vanitas and Jeanne!) but has no way of resolving moral problems in material conditions. Thus when he is sexually assaulted during the Gévaudan arc he makes no effort to actually morally analyze this, regarding Chloé and Jean Jacques not as generally well intentioned people who are nonetheless clearly capable of great harm, but instead ontologically Good People, and thus not real perpetrators of sexual assault, even when Noé was perfectly willing to acknowledge their actions as such before getting to know them. Similarly, when Noé struggles in his conflict with Astolfo on the basis that the latter is the child, Vanitas' assurances during the conflict are evidently taken not with respect to the actual conditions, but as an assurance that Astolfo has been removed from an ontological Good category but is now Deserving Of Violence. Noé is incredibly distressed at the idea of hurting Astolfo until he is given permission to ignore the conditions of their fight, at which point he attacks Astolfo with near-lethal force and does no further moral reflection on the matter! And while we are led to believe that in Astolfo's case this force was necessary, it's still, in my opinion important to acknowledge that Noé's conflict with Misha was immediately preceded with Noé being told that he is "allowed" to commit violence against children.

All that being said, I do understand if you think that Noé's behavior surrounding Astolfo does not necessarily precipitate his behavior surrounding Misha, and I do agree that it is a severe escalation. I think another important factor to bring up when I say that Noé's apparent moral degeneration has been very heavily foreshadowed is that Noé is a very clear foil to Ruthven who, as you point out, is clearly morally condemned by the story as a rapist. There honestly isn't much to analyze on this one, it's just kind of true! Specifically, Noé is shown to have the same or very similar ideals to that of Ruthven in his youth, and it's strongly implied that Ruthven's assault of Noé immediately prior to the Gévaudan arc was in some way instigated by Ruthven recognizing Noé as very similar to himself. It's not hard to see what is being foreshadowed in comparing Noé, a scholarly, intellectual idealist whose conflict centers on his attempts to apply his ideals to the real world to Ruthven, a former idealist intellectual-activist who grows into a violent and cynical politician after years of disgrace. Take this also with Ruthven's assault of Chloé and Jeanne, then with Vanitas as foil to Astolfo and Misha, and Noé's patterns of violence begin to strongly cohere.

Sort of the nail in the coffin, however, is evident from the conceit of the story itself: Vanitas' motivation throughout the entirety of the story has been to die and disappear. He wants to hide his past trauma and especially that related to Luna (which, we agree, is that he had been sexually abused by his adoptive parent) and is apparently so scared of having this being revealed that he attempts to kill Noé and risks his own life in his efforts to conceal it.

And we fucking know that Luna raped Vanitas, because Noé killed him then made the fucking Case Study of Vanitas!!!!!!!!!!

[laugtherhyena]

Playing Bomb rush cyberfunk has been a crazy experience so far because i feel like I've been enjoying the game just as much as I'm not doing so