#have really interesting nuances in their character so i hate them but also like see into their minds

[showerthoughtsofagoldengoose]

why Okarun is a real g

-he was bullied and had no friends and somehow came out of it without any exceptionally strong feelings of hatred or resentment towards his peers.

Trust me as someone who has been in that position (minus the bullying) it is SO easy to hate everyone. From what I’ve heard we learn very little abt this character’s life but I’d assume he might have at least had a good upbringing to turn out like this. I did not so that might be part of why I literally despised everyone and became a bit of a femcel for a while…

-polite, puts others first.

Legit who doesn’t like someone like that? I see no need to even elaborate on this point.

-he respects women’s boundaries.

It’s so common for boys in shounen to be creeps and so seeing a male shounen protagonist who actually is decent towards women is really refreshing! Especially one from a show whose premise revolves around him losing his dick and balls! (The only other shounen I really like is chainsaw man which takes an incredibly nuanced approach to a perverted male protagonist, and I wouldn’t really call Denji perverted as much as he is horny, desperate, and a typical teenaged boy. He reminds me a little of my boyfriend when he was younger lol)

unrelated but even tho the “scenes” of creepiness in the show are kind of unnecessary (I think they’re there so turbo granny can come in clutch and save Momo from whatever is happening to her, since turbo granny’s whole schtick/initial redeeming quality is protecting girls from those kinds of threats. That and the series is batshit insane and needs ridiculous ways to get from point a to point b. I still see why people don’t like these scenes tho) it is kinda interesting to me that the most pervy fuck it I’m gonna use the real word RAPEY literal attempted sexual assault moments in the show seem to be used to make us dislike a character and view them as fucked up. (Allegedly they stop being used which thank God but I digress I’ve been talking abt them too long lmao)

the good guys in the series are like, actually pretty innocent. Aira looks at her dad’s porn to figure out how romance works, Momo and Okarun have this incredibly sweet and innocent romance, and don’t make it weird or creepy when they see eachother in a vulnerable position, Jiji is just a very close childhood friend of momo’s and while he might like her he seems to be pretty respectful and again, innocent. Have yet to meet the rest of the cast but I do hope to see this pattern of innocence continue.

I might also be reading into it too much idk

[crownedwithstars]

Anyone who has followed me for some time knows that I like to complain about the treatment of women in fiction, and particularly in headcanons and fanon that treats a female character in a more venomous - and dare I say it, misogynistic - way than canon ever did. There are multiple instances of this in the Silm, but I think Indis is one of the female characters who gets done dirty most often.

The funny thing is, you see it often disguised as "giving her nuance", or as criticism. But when you look at what is presented as said nuance or criticism, and then consider what Tolkien actually wrote about Indis, too often these things have little to nothing to do with one another. In fact, "nuance" appears to mean making the female character more responsible for a male character's bad actions than she actually is.

I don't mean to say that you can't dislike Indis or that it's inherently misogynistic to do so. But it's good to realise the existence of internalised misogyny and how that impacts the way you expect a woman to behave - and if you're criticising her chiefly because her interests and actions are in conflict with those of a male character, it may be useful to examine that criticism more closely.

Some of the things I've seen Indis accused of are: she is creepily obsessed with Finwë (as if unrequited feelings for someone unavailable aren't a common enough phenomenon), her motive is (improper) sexual interest in him which may in fact be predatory, she bears more responsibility for Finwë's actions than he himself does, she actively schemes to make sure Míriel will stay dead so that she can have her man (even though she doesn't get involved with Finwë until after Míriel has declared her desire to remain dead and the Valar have given permission to Finwë to remarry), she may have used some magical means to enchant Finwë, she hates her step-son and is an abusive step-mother to him, and actually she's so terrible that Fëanor's downspiral is more her fault than the literal Satan figure's (who is in text explicitly stated to be responsible for the fact). Fëanor is also presented in the terms of modern understanding of mental health as if these could possibly apply (and as if we had enough information to diagnose him), and his issues are in large part designated to Indis and her actions.

Tolkien didn't really write that much about Indis - certainly not enough for most of the said criticism of her to be more than conjecture. What little he does say about her paints a picture of a person of sweet and joyous temperament who's not embittered in a situation that could have made her deeply unhappy. You can argue that she's selfish or at least inconsiderate of Fëanor - nevermind the fact that Finwë is bent on remarrying and would probably have done it with or without her - but the other way to see the situation is that she thinks she's doing a good thing for them both, helping a man move on and giving a motherless child a new caregiver. Obviously, Fëanor does not want that (although it would explain a lot about their relationship in a way that does align with canon without making one or both of them a bad person: Indis hopes to be a mother to him in a genuinely well-intentioned way, but he feels she's trying to replace his birth mother, and resents her because she's not Míriel). But nothing in the situation indicates that Indis herself has bad intentions, and it's not her or his fault that it doesn't work out. Sometimes it's just not anybody's fault. We don't even know what Fëanor's first reaction is upon learning that Finwë means to remarry: we only know that he does not love Indis or her children and that he moves out of his father's household while still young. It doesn't imply the degree of resentment applied to this situation by fandom.

The idea of Indis wanting to comfort both father and son is also conjecture of course, but it's no less so than any of the ideas listed above where she's presented as an unsympathetic, wanton schemer, and it certainly is no less plausible. Indis is a rather blatant example of how in too much media, women are allowed only two roles: either she's Madonna, or she's a whore, and this is determined by a male perspective. Indis clearly falls into the latter category as a woman whose chastity, obedience and willingness to self-sacrifice do not bend for the male favourite.

If you judge Indis, at least judge her fairly.

[shecriestotheclickingoftime]

whyyyyyyyy does toni morrison always have to write such beautiful novels with extremely complex characters and nuances? like sometimes i just want to hate someone in her books, and sometimes i do hate them, but then they also have like these complexities in their character and experiences that i also have to appreciate and like reevaluate my world view and at the same time like be enchanted by morrison’s prose. like sometimes i just want to have an opp like donato sarratore

[infizero]

every time i so much as think about that scene where light looks at porn magazines while scowling i go into hysterics its genuinely the funniest thing i've ever seen

[edwinspaynes]

I was angry. I'm still angry. But sadness and exhaustion have overtaken that anger, and I have A LOT to say about this.

Dead Boy Detectives is a very special show to me. It occupies a ridiculously large place in my heart, and it's brought me joy in a way that only a few pieces of media ever have. When I watched it for the first time, Edwin Payne had my heart within minutes. By the end of episode one, Charles Rowland did, too.

It meant a lot to me, seeing such wonderful and nuanced queer characters brought to life in the type of paranormal story I have always loved. In these past months, Edwin and Charles have felt like real friends to me, and to never see them again without a satisfying conclusion to their story is something I have not truly processed. Same for Niko and Crystal and The Cat King - they should be back. But I haven't fully processed it yet, that they're not coming back, and yet I am still aggreived.

@netflix is, at this point, so fucking gagged on capitalism's dick that they're not even pretending to care about art anymore. Dead Boy Detectives is genuinely masterfully made on just about every level. The actors did a phenomenal job and I will be following all their careers heavily. Steve, Beth, and the writing team crafted an incredible tale. The sets, the lighting, the props, the effects were all on point. This was a well-constructed program, and you could tell that everyone involved with the project gave it their all because they cared so deeply.

(Also my heart breaks for the whole cast, but it's hardcore hurting for George since this was not only his first screen role but one he clearly thought he would be keeping as of two weeks ago. He seemed so secure. I hate this for him.)

In addition to being a good show, DBDA had good reception. It's got a 92% on Rotten Tomatoes, was on the Top 10 for several weeks, got 4.7 million views within week one, and was getting daily articles posted on various review sites with NOTHING but praise. The fandom is incredibly active. We trend on Tumblr like five times a week and on Twitter regularly as well.

THE. SCRIPT. FOR. SEASON. 2. WAS. WRITTEN.

What the fuck happened?

Idiot executives at @netflix, choking on the dick of capitalism, probably just thought that they wouldn't get new subscribers for a second season of an existing show that didn't rake in Bridgerton-level cash. That's how they work - people who are interested in it are already subscribers, so who the fuck cares about them? Better to make some other shit, hope new people subscribe, and maybe that'll be a Bridgerton-level hit.

But also, Netflix has fun little trends to look into. And, when you look at the lineup of shows Netflix has canceled, they are overwhelmingly queer. The homophobia of @netflix and their operatives is clearly boundless, and it hits here really badly because this show was clearly made with a queer audience in mind. It was one of the most authentic pieces of queer media I have ever experienced, if not THE most authentic pieces of queer media that I have ever experienced.

It's fucking ridiculous that Netflix canceled a show that they commissioned a completed script of months ago. It sucks that they decided that their existing subscribers, their queer subscribers, did not matter.

Edwin and Charles are ours now. Well, of course, they're George's and Jayden's respectively, but the characters are no longer Netflix's to use and throw out. They're ours now, our fandom's, and we all love them so much.

And we deserved to see more of them, and we deserved to see their love story play out onscreen, but I for one am not going anywhere. Let's give Edwin and Charles - and the rest of the gang - millions of versions of the stories and endings that Netflix deprived them of.

[noperopesaredope]

I recently watched a video talking about what your favorite Mouthwashing ship says about you (spoilers: most of them are bad), and one thing I explained in the comments that I think is important to explain to certain people (in general with a lot of fandoms, tbh) is that a lot of shippers in the fandom understand that these relationships would not be good and are in fact deeply unhealthy, but perhaps that's the point.

Like, most of the Jambone x Curly shippers I've seen don't like the ship because it's cute or good, but because it's narratively interesting and would be extremely compelling to see. I honestly get it even if I'm not super interested in it. Jildo and Curly already have an extremely interesting and unhealthy relationship dynamic. It is heavily implied that JarJar acts very emotionally abusive towards Curly, belittling and manipulating him frequently and likely damaging his confidence and ability to stand up to people. But he is also obsessed with Curly in a very fascinating way.

Meanwhile, Curly has not only been friends with Jimbo for a long time, but has a fatal flaw of being too loyal and passive for his own good. As many have said, Curly is like a golden retriever in both a good and bad way.

Curly is Jackass' victim and enabler at the same time, which is why he is one of my favorite characters in the game. You both feel bad for him but also understand that he really fucked up and a lot of stuff is his fault. His most endearing traits are also some of his worst traits. Again, the golden retriever comparison is very accurate. He is friendly and loyal and believes the best in everyone (and very cute), but that loyalty and belief in everyone are also his fatal flaws.

He enables Jello because he thinks that there is good in him, and like a dog, he sees no wrong with most people no matter what they do (until it's far too late). I can't remember the fic I saw this in, but one good line I saw once was something along the lines of: "You believe in people and see nothing wrong with them no matter what until they abandon you at the park in the middle of the night." Curly sees no wrong in his friend because that's the type of person he is, and while it can be cute, it's also dangerous.

It can also often be detrimental to himself, as we see Juice be cruel to him as well, yet Curly excuses it as just Jizz being Jizz. He doesn't see anything wrong with the way he is treated, making him become desensitized to Jive's behavior and seeing it as not a big deal.

I think Curly's status as both victim and enabler would be interesting under the context of an abusive romantic relationship. There is an even greater power imbalance present, and Jojo may do a lot worse things as a result and be a lot more controlling and manipulative. He could be more physically and verbally abusive, make more threats, and even be sexually abusive (since he is canonically a rapist already, and hates Curly more than he hates Anya, thus he would probably put more aggressive hate into it). The whole relationship would be horrible and disturbing, but also interesting to see.

I love fics exploring their unhealthy friendship, so seeing it as an unhealthy romantic relationship could be even crazier to see.

~~~~~~

There's also the nuances of Anya x Curly. Most people ship it specifically in the context of AUs where Curly actually stands up for Anya and helps her out. Their dynamic as characters could be really cute, especially if he puts in the work to protect her.

I personally find the potential of post-crash Anya x Curly to be interesting as hell. I generally find their non-romantic dynamic post-crash to be interesting enough on its own, but I also think it could be absolutely crazy if they developed romantic feelings because those feelings would develop from some really unhealthy places for the most part.

I see Anya as someone who still holds some resentment towards Curly, but also sees herself in him and feels he doesn't deserve what happened to him. Maybe at one point seeing him go through something similar to what she went through might feel a little cathartic, but anything after that is too much to her. She is also his primary caretaker and a nurse, so she feels responsible for his wellbeing and wants to take care of him. She also seems to read and talk to him a lot, which probably feels nice because she can have some company while also being safe because Curly is not in a position to be able to hurt her. Anya doesn't exactly develop proper feelings for him per say, but she still uses him as a bit of an emotional crutch of sorts and becomes very attached to him because of it.

Meanwhile, Curly feels deeply guilty for not helping Anya and feels she deserves better. He believes she has no reason to care for him, but chooses to anyway, and thus he is extremely grateful towards her, possibly idolizing her to a certain degree. He slowly develops his own weird feelings, seeing himself as unworthy of her kindness and wanting the best for her, while also being dependent on her, even if it's in a more direct way.

They never get together or even realize that they themselves have feelings for each other since those feelings are #messy, but do form a weird codependent relationship of sorts. I've seen some cool fanart of Anya hugging/holding onto post-crash Curly, and it made me think about the potential this whole dynamic has and how unhealthy it could be, both for Anya and Curly. I believe they would not work out or be healthy (though probably better than Jazzy x Curly), but could be interesting narratively.

~~~~~~

Basically, what I'm trying to explain is that a lot of people don't ship certain Mouthwashing ships because they think it's good or want to romanticize it, but because it is narratively compelling and can explore complex dynamics more.

[felassan]

From Game Informer:

Solas plays an important role in the game as a central figure and significant character, but the game is not about Solas, hence the title change

Rather than focusing on a specific individual, the focus and centerpiece of the game is Rook's team, stopping the end of the world with this group of specialists

"I think you could argue [these companions] are the best the franchise has ever seen". We will have the opportunity to interact with them in a way that both shapes their story and also influences the main story, including having the opportunity to impact their fate

"Arguably, this game has kind of, in a way, been called Dreadwolf to some degree since its earlier days"

Excerpt:

"When I ask about Solas' role in the story after I learn his namesake is no longer in the game title, Darrah says Veilguard is still taking the Elven God's narrative in a good direction. He adds, "It allows us to, hopefully, give a good conclusion to all the varied attitudes toward Solas that are going to be coming from people who love Solas, who agree with Solas, who hate Solas, people who want to kick Solas off of a building – I think that we give you the opportunity to bring that to a close, but then tell a greater story about The Veilguard and about the world as a whole." Talking to Epler, I learn more about how Solas isn't exactly the big bad I expected before seeing the opening hours of Veilguard. There's a lot more nuance to everyone's favorite bald elf.  "The most interesting villains to myself, and honestly most people, are not just straight up, 'I want to end the world.' To them, they are the heroes of the story, and Solas is no exception," Epler tells me. "Solas always feels that he is a tragic hero but a hero nonetheless, so he's coming into this believing firmly that what he did, that which you stopped him from doing, was the right thing – that you made a mistake. But now he's trapped and can't reach out and actively affect [Thedas], so he needs to work with you. "That allows us to provide a lot of nuance to that relationship," Epler says."

Solas is literally trapped in the Fade after the game's prologue. Rook and co stop his attempt to destroy the Veil. Rook passes out and wakes up in a dream-like landscape to Solas' voice. He explains that he was trying to move Elgar'nan and Ghilan'nain to a new prison because the old one wasn't containing them properly anymore. The two blighted gods are now free and roaming Thedas. Rook has to stop them, but it seems that they will have to work with Solas ("or at least listen to his guidance and advice") to do so

Excerpt:

""So one of the principles we took to when we were building the story of The Veilguard early on was we wanted the beginning of the game to feel like the final chapter of an earlier story and you're coming in right at the end, you're coming in as if you've been chasing Solas – the [Solas at the end of Dragon Age: Inquisition's Trespasser DLC] who said he was going to end the world and tear down the Veil," Epler adds.  Epler says players will see early on (and as the narrative develops across Veilguard) that Solas sees much of himself in you, the player-controlled Rook, especially "the parts that maybe he doesn't like to face." As a result, there's an interesting push and pull between Solas and Rook. He says players can define the relationship between these two characters with their choices in dialogue.  "You can continue to be suspicious and hostile towards him, or you can start to see him and find that common ground, that connection between the two of you, and really develop a different relationship over the course of the story," Epler says."

[source]

[ouchmyghostskin]

Season 2 predictions regarding payneland:

I've been having thoughts since seeing the cameo where George said that there was a deleted scene post confession/ pre Crystal saying goodbye, where Edwin encouraged Charles to be honest with her about how he feels (which is kinda insane character development compared to episode one??? But good for him). Granted , they deleted it and we don't know why, but I'm going to assume it was for space/time etc. Originally I wasn't really sure if Edwin had picked up on the open-endedness of Charles saying that they had forever to figure it out, though I suspected he hadn't, but I thought that if he *had* that he would most likely wait. But now I think that Edwin probably saw that as "I don't reciprocate but don't worry we'll figure everything out". So I think the likelihood that Edwin might pursue something with someone else in season 2 is a definite possibility. Fully accepting Charles "rejection" and consciously deciding to address his loneliness and desire for romantic/sexual connection, despite his feelings for Charles. And....I suspect it's going to be the cat king. And I suspect that Charles is going to be caught between his interest in Crystal and insane jealousy about Edwin, and it's going to be the catalyst for him realizing that his jealousy is romantic in nature.

There is always the possibility payneland isn't endgame but I'm an optimist 👌

Now for some personal thoughts about the above that has some mildly negative feelings about catwin so if you would rather not read you can scroll now. 👍. Yay for curating your fandom experience!

So I'll be honest, there isn't even a small part of me that ships catwin. I thought the plot line was interesting, and I think the cat king is an interesting character that functions very well as a catalyst. I don't *hate* it and I have absolutely zero negative thoughts about people who enjoy it, just to be clear about that. Ship whatever you want, it's all paper dolls in a sandbox to me. For me personally though, I found the dynamic coercive enough to put me off it entirely as a ship. (For some people that's fun to explore, or ignore, in ships for a wide variety of reasons that I have zero desire to police, so again, I'm not criticizing catwin shippers). Secondarily , I actually don't ship characters all that often, but when I do Im pretty OTP about it, so that's contributing. But if that's the direction they're going in , it makes sense for them to continue with the cat king since it's established that Edwin is attracted to him, and has appeared to forgive him for manipulating him in season 1. So....I'll not be thrilled to see catwin content in season 2? But I can grimace through it if it's not endgame. Also...I've seen whispers that indicate some parts of fandom don't enjoy the jealousy plotline specifically bc they feel jealousy is harmful? I get it if it just doesn't interest you or brings up bad memories, but emotions don't harm others. Being angry or jealous is an almost unavoidable part of the human experience. Only your behavior motivated by those emotions can harm people. So ...I'm ALL for Charles continuing to grapple with emotions like jealousy and anger and coming to terms with realizing they don't make him an abusive person. Even if he handles it imperfectly that's still an interesting flaw, and there's an extremely large sliding scale of behavior between "that's something to work on but you are a great person" and actually harmful/abusive. Yay nuance!

[mythalism]

I was wondering (because I love your Solas and solavellan analyses) what do you think of s*lrook? It doesn’t work for me, not because I like solavellan, but because I just don’t like Rook and some other reasons that I’m having trouble articulating. Something along the lines of “Solas mirrors” and, as Rook, we can only ever really approach him as though he is a villain with little nuance and can never ask (the man that started out as spirit of wisdom) any questions. I think maybe it would have been more interesting to me if BioWare gave Rook more meaningful regrets and let us have more rpg elements. Anyway, feel free to disagree with me or not answer this if you think it may gain negative attention. I just like the way your brain works and was curious about your thoughts because you might have an interesting perspective!

i honestly dont think of s*lrook like ever. truly it does not occupy any space in my mind. i think its probably similar to what you are feeling, which is that rook is so nothing its like putting solas with a cardboard cut out. and maybe that is why the issue of solas mirroring rook comes in; there is nothing for him to reflect. rook is also so meaningless to solas that he has no incentive to meaningfully engage with them. with the inquisitor, solas was literally tied to them by the anchor and had no choice but to spend time with them to get his orb back. but that is a process that develops over an entire year. he gets sucked into the inquisition and cannot help himself but become part of it. even solas who hates the inquisitor is deeply involved in everything they do, every decision they make he becomes complacent in as part of their inner circle. even with an inquisitor he hates, he cannot help but develop attachments to the other members of the inquisition. he is actively carrying out the inquisition's purpose. if they do something he doesnt like, such as recruit the templars or keep the wardens or kill the sentinels, it makes sense for him to speak up, to challenge the inquisitior, to make his distaste known because he is directly involved. he is also directly responsible for corypheus gaining such power. all of this personal entanglement in the events of inquisition give him and even a low-approval inquisitor a dynamic that is interesting and complex. their erasure into a figurehead for the purpose of a cause is familiar to him at the very least. the way he reflects the inquisitor is entrenched in the plot and who they both are as characters. he reflects the inquisitor because the inquisitor is walking the same path he was forced to.

in veilguard, i think that him being trapped for so long was a mistake writing-wise. despite solas being literally integral to EVERYTHING HAPPENING, he feels completely separate. he only has a few things to say about each major plot point, we can barely ask him more than a few questions about anything throughout the entire game, we dont get to confront him on his memories, we dont get to see him react with anyone. he literally exists in a vacuum. there is nothing for him to reflect, nothing for him to engage with. he is literally in an empty room, talking to an empty character. what is there to work with in that? where is there a relationship to be had? they kept telling us that rook reminded solas of himself which is honestly hilarious in retrospect because what??? where??? how??????? because they did something rebellious one time??? but solas and rook never actually talk about that. they never actually talk about anything about rook's life. solas doesn't even pass judgement on their decisions. their conversations all have the same set end point. his goal from the beginning is always to shape them into taking his place in the prison (however the fuck that works) and all of their interactions are defined by that, and happen in the shadow of rook ruining his ritual and releasing the evanuris. compared to solas and the inquisitor, who at their core, is a manifestation of his mistakes as a victim of his underestimation of corypheus and the bearer of his anchor which will eventually destroy their body. there is an immediate thread of guilt and connection through those circumstances. for solas and rook, the opposite should actually be true; rook should feel guilt for getting solas trapped through their carelessness, but they clearly dont lol. its just so nothing. rook is so nothing. solas reflecting rook thus is also nothing. there is a reason the game picks up so much when we see him outside of the prison, talking to the companions, having a moment with emmrich, being eviscerated by harding, killing ogres in one hit, tearing into an archdemon... its pretty mutually agreed upon as the best part of the game? why would you make a character that, as a spirit, reflects his environment, and then put him in an empty room in the game named after him? and then why would you set him up with an empty protagonist who was clearly designed only to further the plot and not have a real story or arc of their own? flop.

[sophsicle]

Okay, I understand hating Snape as an adult. He's a bully. But as a kid? As a teen? The result we see of Snape, him as a shitty adult, is an imperfect victim. Someone who had a bad life, made bad decisions, and was impacted by everything that happened to him. Not everyone can be abused, bullied, grow up in extreme poverty, and then pull through to be amazing people. SOME people can, and that's so amazing, but I don't think it's healthy to look at a child/teen with literally every social determinant of health against them and say 'well, they should've been able to do better'.

Does Snape suck as an adult? Yes. Did he also make decisions which saved Harry's life and allowed them to end the war? Also yes. Does he ultimately sacrifice his life for Harry? Yes. Does young Snape have a lot of potential, especially in spaces such as fanfiction, to explore the effects of one's upbringing and subsequent choices/life path (which you have explored so beautifully, carving out a life for a character in your stories with the very same themes)? Definitely.

I'm not saying he is a perfect person, or even a good guy, but a lot of people can and do relate to him as imperfect victims of bullying and abuse. Sometimes you can't rise above life's circumstances on your own, and you aren't this 'amazing' person. And that's okay. It's okay for victims of things like abuse to struggle, and it's good for people to acknowledge that things like bullying AREN'T okay and have lifelong consequences for their victims. Snape is a good example of what happens to a lot of people who aren't able to 'rise above' the things that happen to them and make mistakes. I think blind hatred for him is a very narrow-minded view, and ignores a lot of his story and nuances.

So two things a) I think perhaps you are missing some of the silly fun spirit I was attempting to infuse into my hatred of snape who is a character not a person

b) listen, I think snape is a super interesting character to play with because he offers a counter point to the marauders especially where issues of class are concerned, even the insults the marauders use against him, about him being "dirty" have clear class connotations and I think that allows you to critique the biases of the "heroes" of the story so to speak and that’s something I really like, so I’m not trying to suggest that he should just be dismissed because I don’t think he should be necessarily

What I am suggesting, is that JKR writes a grown adult teacher who abuses his students consistently and brutally for seven books (students he knows are already traumatized because the group he was a part of tortured or murdered their parents) and at the end of the series we are meant to forgive him because he loved a woman one time kind of maybe I guess

Now, fanfiction can do whatever it wants and make characters whoever it wants

But I have a fundamental problem with the way that snape is used in canon and the way that people accept that narrative

His behaviour as an adult towards the children he is in charge of is gross and unforgivable, but is absolutely forgiven by the narrative of the original text (without, I would argue, any of the nuance you are suggesting)

So I just find it less compelling to use fanfiction to continue to forgive this character

And like maybe if JKR didn’t explicitly write him as someone I was supposed to love I would feel differently, but because she does I don’t

I think you’re giving this character a lot more depth than he has

Which you totally can do with any character you wish, but for me, personally, not universally, cause there is no universal truth about a fictional character who does not exist, he deserves to be hated, in my opinion, again, cannot stress this enough, I’m not saying there is a right way to feel about this character because I don’t think you can say that about characters , but this is my way and I hate him and these are my reasons

Like you can hate characters without being narrow minded

I fear this is a thing you can do

[kingofanemptyworld]

Rin, identity issues, and the complications of being an isolated, alienated teenager

It feels sort of weird to say but I generally don’t head canon characters as having particular sexualities. Whatever people go for in fics is usually fine with me - gay, lesbian, bi, pan, something more general like queer. As long as it makes sense for the story they’ve built and the character they’ve shaped to fit it, I’m good. Unless you’re ignoring a canon LGBTQ+ sexuality, in which case, yeah, I’ll take issue with that.

But anyway. Rin.

I’ve got my personal ship for him (BonRin my beloved), but regardless of the pairing I see him as bisexual. He’s so open with his infatuation with Shiemi, and okay, sure, fandom likes to ignore the love interest in shounen for the most part because we’ve got gay ships to peddle. But I don’t see the point in that unless it really reads like it’s a front, or a result of a character suppressing themselves for one reason or another. And with Rin, I think it’s pretty clear his affection for Shiemi is sincere. You technically have the in-universe evidence of the demon that brought out his true desires to back that up, but even without it, Rin likes her. It’s complicated because of Yukio and Shiemi’s own inexperience with romance, and yet I never once doubt he really likes her.

That being said… he’s very appreciative of the guys in his life, too. (Peddling my gay ship here) Bon in particular, considering he’s often admiring how cool he thinks Bon is, that his haircut suits him whether it’s the blonde rooster look or the undercut. If you don’t want to see it as romantic interest, that’s your prerogative, but to me Rin comes across as seeing cool and cute as different traits he finds attractive (in Bon and Shiemi respectively).

I also think his bisexuality would fit neatly into his narrative struggles to “pass” throughout the early parts of the series. Rin has grown up as the neighborhood problem child, ostracized for being violent, and eventually he decides he’s fine with just his brother and his father — and the rest of the monastery, presumably — for company. (Except that’s absolutely not true and clearly he’s starved for friendship and support.) People looked at him and saw a monster, even before his demonic heritage made an appearance; why would he bother giving them even more ammunition when it comes to reasons to hate him? So no matter when he figured out his attraction to guys, he’s not going to lean into it, because he also likes girls, right? (Ignoring for a moment that bisexuality is a lot more nuanced than that.)

Rin likes girls, Rin is human — that’s what’s going to get people to like him, or at the very least tolerate him. That he likes guys, that he’s half demon, he can shove that shit down and pretend it doesn’t exist. Lock up any stray thoughts and keep the sword sheathed around anyone who doesn’t already know.

(Excuse me for being amused by Rin wielding his humanity and supposed heterosexuality as a sword and shield.)

The problem, of course, is that he can’t keep up the facade forever. The narrative won’t let him. Rin has to embrace his demonic side, because it’s the only way to move forward and to continue to help his loved ones. And once he’s moved past the issue of his friends being upset over the deception, when they understand he’s still Rin despite what he’d hidden from them, Rin is finally allowed to be himself. He uses his flames, he lets his tail move freely in the open around the Cram School kids. Rin still doesn’t like this side of himself — it’s inextricably tied to every moment of pain and isolation he’s dealt with his entire life, including the death of Father Fujimoto (and, y’know, his mom). But he is moving forward, he’s trying to adapt.

And isn’t that some great fucking subtext for his bisexuality, too?

[terukotime]

thinking about Ace and Eden again and how i really don't want either of them to be the culprit lol. i just feel like either one being the blackened would be a waste of their potential. i know in Danganronpa that's bound to happen with some characters, but Ace and Eden both have traits and arcs that could run through the whole series, or at the very least, to the next chapter. while a big part of any killing game story is losing characters quickly and having their arcs and growth cut short (we've already seen as much with Arei, rest in peace queen), Eden and Ace have a lot of prominence in the Trust vs. Distrust theme of drdt, on either side respectively. and they both have a lot of potential for their views to change. i can totally see Eden's optimism finally starting to crack, and she begins to lose hope in trusting others and thinking they're good-intentioned, especially since she was put in virtually the same place that Teruko was in in the last trial, with everyone distrusting her and thinking she's the culprit. though Ace hasn't had much of a catalyst to alter his beliefs yet, there's still hope for his views to change. he's a lot like how Teruko began to behave after the first trial, thinking he can't trust or rely on anybody and pushing everyone away as much as possible.

[giant-ass analysis under the cut. i didn't expect myself to go on such a huge rant, but i realized i have quite a lot of thoughts on the matter lmao. there are probably a lot of hot takes in here and i know there will be people who won't agree with me, so take this all with a grain of salt, pls & thx]

while Ace's role in the trials is mostly confined to causing conflict and being a comedic relief, he's expressed being committed to investigating the scene of Arei's death. while sure, if Ace is the culprit, his desire to investigate could very well be a ruse. but for the sake of his potential, it'd be far more interesting if him being innocent results in him going on to investigate more thoroughly and contribute substantially to the trials. Arei did have potential for a full redemption arc, but her death doesn't feel narratively unfulfilled. its tragedy not only allows the audience to further sympathize with Arei and see just how nuanced she was, but it's also meaningful to the members of the cast, and will serve as a point of motivation for them, whether that be to maintain hope in escaping or giving into despair.

at least, that's how it's set up to be. i feel that if either Eden or Ace are the culprit, Arei's death loses a good deal of its weight and meaning. especially if the culprit is Eden; even if she had "well-intentioned" motivations for killing her (as well-intentioned as murder motivations can be, anyway), Arei's breakdown, desire to change, and tragically short path to redemption is rendered pointless. her want to be a good person will have affected virtually no one. her death will have only held significance to David, as most of the cast didn't care for Arei or hated her, much like Ace.

while Culprit Ace won't render Arei's death *as* meaningless as Culprit Eden, it sure would make Ace's own death feel pretty meaningless. he'd be dying in a trial where he fully believes everyone is cruel, everyone hates him, and no one cares about him at all. his shift in his belief can't really be considered much of an arc or even a regression; he just descends further into his hatred and paranoia until he dies doing exactly what the killing game expects of him. Ace, a character who has prioritized his self-preservation all throughout the series, will have thrown that away for...what? revenge against Nico? would he really place his hatred for them over his fear and will to live? Ace is impulsive and narrow-minded, but he's not without *some* sense. if Ace were to be the culprit of this chapter, what would he have contributed to the story? what would his existence have meant? what would he have provided that the story can't progress without? he'd have zero growth, zero stakes, and zero relevance to the ongoing plot, aside from unrevealed backstory (most of which will likely go unsaid in the main story if he were to die now). do i think Ace is going to play a significant role in the overarching story? no. not as much as characters like Xander and David, anyway. but he still has so much to offer as either a survivor or later victim/culprit, as we'll have spent more time with him, gotten a better understanding of him, and possibly be able to sympathize with him, like we do with Arei.

and here's another thing i've been thinking about, too: all the deceased so far have a point of significance to the story. Xander has a connection to the larger-scale mystery surrounding the killing game and a complex relationship with David. he continues to be relevant in the story even after his death and will likely always be.

Min is not only a cautionary tale to the rest of the cast, but her story follows a very cohesive path:

she's a girl committed to her academics and has been led to believe it's the only thing about her that matters ->

while not a social butterfly, she still enjoys spending time with others and making the most of the situation she's in ->

she forms a bond with Teruko, someone who has shown to value both her intelligence and her personality ->

she finds Teruko being murdered by Xander, and instead of being a bystander, she takes action to save her friend ->

she realizes that what she did has jeopardized her own life, a life that she does not center around herself. her family depends on her having a successful future, a future she has been groomed to achieve since she was little and has made several sacrifices for ->

though Teruko is her friend, Min prioritizes her self-preservation. there are too many things that are objectively more important to her than the life of a girl she's known for a couple days ->

still, she cannot shake her guilt and chooses to remain at Teruko's side throughout the investigation ->

she's desperate to maintain her lie, even if it means framing the friend she tried to save and getting everyone else killed. she fights and fights until she can no longer ->

she loses everything. her life, her future, the trust of her friends, the trust and bond she had with Teruko. Min always had good intentions. but even good-intentioned people can do terrible things.

Min's story throughout Chapter 1 alone is very digestible and easy to follow. even without knowing the greater contexts of her life, like her family's financial situation or her groomed future of being a Hope's Peak student, her motives and actions make complete sense. you don't come away from it feeling like she acted out of character or that her death was hasty or sloppily written. her death has a lot of meaning and impact on the other characters.

and that alone makes Culprit Eden or Culprit Ace unsatisfying. Culprit Eden would not only undermine Arei's death and potentially lead her into character derailment, it'd also just be Min's story regurgitated in a much less compelling manner. Teruko has already had her trust broken, and while it seems like she's slowly starting to see the value in relying on others again in the Chapter 2 trial, what good would Eden's death do for her? even if it causes Teruko to regress, what will change? wouldn't Teruko go back to being the way she was acting at the start of the chapter, undoing whatever growth was already beginning to happen? will she be unaffected by Eden's death, or at least act like it? will it somehow strengthen her desire to trust and rely on others again? (it won't.) Eden's role as the chapter 2 culprit really won't do much good for the story, regardless of what her reasons are. everything we've learned about Eden and Arei, both together and individually, will be irrelevant. the significance of Arei wanting to be Eden's friend unconditionally, something that we learn is so significant for her because of her secret, will turn out to actually be pointless because Eden will have killed the one person who expressed they'd be her friend her regardless of who she is.

Ace simply hasn't done enough in the story to establish his deeper character. with Xander, Min, and Arei, we already got glimpses into their core beliefs, their true selves, their moral standings. if those aspects of a character are only revealed after they're confirmed to be the culprit, then honestly...that's just bad writing. i don't like saying that, but i firmly believe it. not only do we hardly know anything about Ace's backstory, we just don't know a whole lot about him other than surface-level things the show outright tells us: he's fearful and paranoid, he doesn't like being a jockey, he's hotheaded and unsociable, he developed an eating disorder due to the strict requirements of his talent, he's hardly ever had any friends, he doesn't think anyone cares about him. and while a lot of inferences can be made from that information, it's still very speculative, and even a bonus episode after his execution wouldn't be able to cover enough of his backstory and personal life for it to feel justified narratively. you simply can't kill him off without letting us see another side of his character and have it better the story.

if either of them do, unfortunately, turn out to be the true culprit of the case...i will be very disappointed. i won't drop drdt or criticize drdtdev for their decisions, but i will still personally believe it to be a bad choice. nevertheless, it's not my story, and i will continue to support and enjoy the show regardless. i have a lot of faith in drdtdev's skills as a storyteller, but no story can be completely perfect. Ace or Eden being the true culprit won't destroy the show as a whole, and i'm not trying to imply that it's a fundamentally bad choice, i just think it'd be very difficult to pull off and have it feel natural, organic, and satisfying for the ongoing story. i will neither be optimistic nor pessimistic about what happens in the next coming episodes, i will simply wait and see. i just wanted to get all my thoughts out here, and hopefully i didn’t come across as aggressive or snobbish or anything. this is a free to watch series, after all, and i enjoy and appreciate all the hard work that has gone into it and made it possible.

[superectojazzmage]

I really dig Qimir's characterization. He's a Sith and a lot of the brutality of Sith culture is on full display, but he doesn't really come off as necessarily evil or even especially malicious, at the very least no the in the typical way Sith villains are portrayed.

Mae's hunting of the Brendok Jedi seems to have been more of a personal thing for her that he reluctantly went along with as part of her training, and Qimir himself is evidently more concerned with keeping his culture alive than perpetuating old grudges. He hates Jedi because of all the bad blood between them and Sith and the ideological differences and has no issue with killing them, but also mostly just wants to be left alone to practice his faith, use his powers, and rear his own students/children as he sees fit rather than being forced to follow the laws of the nation that destroyed his own.

He bears no delusions about the Sith's current predicament as a tiny husk of it's former self hiding in the cracks of a society dominated by ancestral enemies, like many of the Baneite Sith do. He isn't interested in fantasies of revenge and conquest. As he says to Sol, the only reason he kills the hunting party is because Mae has caused them all to discover the Sith, and if the Jedi Council and Republic learn about Sith still existing they'll default to slaughtering or depowering them all for being "tainted by darkness", the exact same way they've done after every prior conflict with the Sith.

And while he disagrees with the Jedi Code, he also despises when Jedi fail to follow their own stated principles and gladly points out when they're being hypocrites (like how he mocks Sol for being upset over Jecki's death because she's "a child", as if he didn't personally lead said child into lethal combat after rearing her as a warrior and as if the Jedi in general don't use their padawans as child soldiers as a rule). His obvious disdain Sol and the Brendok Jedi specifically over even the other Jedi seems less motivated by the Jedi-Sith feud and more by him knowing about the very bad thing they almost assuredly did on Brendok and being livid about them continuing to act like they have the moral high ground despite it.

In a lot of ways, he's in the same position as the Brendok Coven, someone who wants to be free to live their own way and not be bashed into line by the Jedi and Republic, which would certainly explain why he and Mae gravitated to working together. They see each other as kindred spirits, both people left alone and in hiding by the imperialism of the Republic and the Jedi's refusal to let anyone who challenges their view of the Force exist in the long term, if at all. And that also adds to his anger with Mae when she turns on him; she was trying to throw him under the bus so she can ingratiate herself with the people who killed both her and his people. Even in a culture that values cunning and deceit, that sort of betrayal would probably be seen as unimaginable, the kind of dishonor that can never be atoned for.

All in all, the show is such a nice throwback to the more morally nuanced and even-handed works you used to see more of during the Legends EU days, showing the flaws and issues with all the involved groups while not coming down too hard and deeming any one pure evil, as well as treating the individual characters within those groups as varied in nature but usually sympathetic or at least understandable. The Jedi as an institution and a part of the governmental system are deeply flawed at even the best of times, but most of the Jedi come off as decent folk who are genuinely just trying to do the right thing. The Brendok Witches had their issues, but also justified reasons for everything they did and at the end of the day they just wanted to be allowed to live their lives without fear of outsiders storming in to take their children away and forbid them from passing their ways on. And now, with Qimir, yeah, the Sith culture is shown to be very harsh, ruthless, or even downright savage by the standards of the Jedi (and our own real world values), but they're still people at the end of the day.

[pixelnrd]

this isn’t a hate ask at all i just wanted to know why in such a long challenge with almost endless sims didn’t you ever consider doing a trans heir with all the recent updates ea added and entering more modern generations. of course it’s your own sims and you can do whatever you want with them, but since you touched other sensitive topics i just wanted your thoughts on this!! sending much love. ❤️

Hi anon. Even though your request is very polite, I can't help but feel like you are disappointed in me and feel that I have failed in being fully inclusive and representative, otherwise you wouldn't've sent this to me anonymously.

Firstly, I want to address the fact that Thelma, from the 1920s, was a non-binary character, and many readers see them as having a trans identity. I explored Thelma as a non-binary character because the desire to create their character as such came to me at the time.

I think perhaps you are disappoined that I have not had an overtly trans characer in the Langston Legacy. I haven't done this for many reasons, which I'm happy to be open about below:

Following the exploration of a persons trans identity formation and transition is not a story that I am interested in telling. I have said it before and I'll say it again - I do not feel well equipped to tell this story with the right nuance and sensitivity it requires; I do not have any lived experience to draw on to tell this story, nor do I have anyone whom I can ask. I do not want to open myself up to critique for getting it wrong, nor do I want to offend anyone. The weight of these pressures mean that I don't have any desire or motivation to create a character whose purpose is to experience gender dysphoria and transition.

The way I have developed characters through history in this Legacy has been to feed into stereotypes of each particular decade. This has been my primary focus for character development, and arguably that is characterisation at a superficial level. Focussing time and energy of character development on one characters transition journey does not fit in with this balance that I am trying to strike in this Legacy. That is not to say that there were not trans people throughout history. There were and I am very aware of this. But exploring a trans character did not come to me as a natural fit in the other stories and themes I was exploring in each decade of this challenge.

I don't believe that this medium (a Decades Challenge) is the right forum or medium for me to tell this kind of story. That's not to say the sims isn't a forum for exploring these stories, and I am sure there are heaps of great sims stories out there that do. But my story is not one of them. I can't please everyone all the time, and I can't canvass everything in this Legacy.

There are so many types of identities and cultures I have not touched with this Legacy. I just can't achieve that. You could just as easily tell me I have not done adequate representation because I have not had any Muslim sims when EA has added headcoverings to the game. I can't fit everything in. It's also not my goal to fit everything in.

Finally I'll finish with this - I haven't finished this Legacy yet. There is stuff to come. So I would really appreciate if everyone holds their horses before summarising and telling me what I missed out on including.

[nextstop-fixationstation]

OK analysis time! Matt said that Marcy's affection towards Sasha was more surface level than Anne's, which was described as "complicated." People might assume that this means that Marcy's affection for Sasha wasn't deep, or that their relationship wasn't.

If we're being honest here they weren't presented as having depth to their relationship so much as having acts and services. They're on the level with each other and can interpret each other's needs for a plan but they are lacking somehow when it comes to each other's emotional needs. This is something Darcy touches upon when they say they might not have ever been friends at all, and might be a core conflict between Sasha and Marcy. It's also a good example of why Anne is the actual Heart of their friendship. She connects and makes their dynamic deeper. While Marcy is desperate to keep people together and hates being alone, she admits she lacks a core understanding of emotional intelligence and this is something she admires in Anne. Marcy treats herself as a tool and mostly makes friends by doing things for them and complimenting them. She's kind of the perfect POV character for a journal that gives lore specifically because she's very attentive to things like strengths and weaknesses and team synergy, but isn't necessarily attuned to emotional intelligence. She kind of blocks herself off from feeling certain things too keenly or doubting herself, and masks it using this peppy overachiever persona.

Maybe if Marcy were more emotionally self aware, she would have been even more openly hurt by how dismissive Sasha is of her interests (even though Sasha clearly does like nerdy things), or she would have noticed that her friends don't really care for RP (etc). But in the series what we see is a Marcy so afraid of being left alone that she'll hide every emotion and every hurt aside from what she thinks will make people stay - she delivers compliments, improves infrastructure, says all the right things to earn trust. She's a great twist antagonist! Admitting that her friends don't or can't reciprocate her interests or desires is important to her arc, because it serves as a lesson to her that friendship is more than just doing things together or doing things for each other. Marcy and the others aren't just tools in schemes and plans.

We hear from Anna that Sasha has difficulty knowing when to bring other people to the table, so for someone like Marcy who thinks that she needs to earn everything through acts/upgrades, it makes sense that their relationship remained very surface level. Neither of them pushes the other to see things differently, while Anne does. Anne can acknowledge where people hurt and hurt her, and can acknowledge that this doesn't mean they aren't friends or significant to each other. Anne notes the complexity! It's why she's so compelling.

So, Marcy acknowledging how hurt she is that her friends don't want to do what she wants is significant because she also says, "I believe in you." Love goes beyond the stuff we do for each other. There's a bit of faith, too. What she did isn't right either. Being hurt isn't an excuse.

Darcy isn't just "evil Marcy," the Core is also every temptation for Marcy. Escapism, distraction, perfect friends who go on quests with her whenever she wants. There's a darkness to this kind of insecure attachment that Darcy reveals. Fear of inadequacy and irrelevance. Fear of loss. Fear of change. Fear of what is deeper than skin deep. Maybe my friends will forget me if I move. Maybe I'm just their nerd, just like Sasha's just cool. So their relationship isn't surface level to us, because this nuance is communicated to us through the subtleties of the show's execution. It's a really well acted, well boarded, well written show with fantastic music! It's really amazing!

Sasharcy IS very complicated! But it's complicated because they never dig deeper with each other until it's too late. It's also why it's significant that Sasha is the one to ask, "Can we save this friendship?"

Why is friendship with Marcy so easy? Is it because they got along and there's mutuality here, or is it because they didn't let themselves get any deeper than what was easy? It's so easy for them to just be the controller and the executor.

Forgiveness is hard. Forgiveness takes time. It takes a lot of thought, discussion, and work. Friendship in the long term, deep enough to mean something and hurt when it's gone, is similar. It's not just sentimentality and acts of appeasement.

aaaaand that's what i think matt meant when he was like "marcy's affection for sasha was kind of surface level"! I will admit I was like noooo Matt noooo don't say it was surface level whyyyy but like i had time to think abt it so i'm fine now lol lmk ur thoughts💙

smth i didn't add to my original tweet thread is that i DO find it interesting that marcy appears to specifically empathize with the experience of lonely people who grow up a certain way or doing things a certain way to protect themselves from loneliness. she seems to have an intuitive understanding of people fitting into groups via niches, but is drawn to people who already seem like outcasts as opposed to being able to identify it when someone is surrounded by people they seem to easily connect with. Marcy has this fundamentally insecure and lonely viewpoint that makes her very interesting to read and analyze, and I suspect it also contributes to her popularity. I mean, clearly *I* love her

[venvellan]

da2's arishok is a good villain. if you have a fundamental understanding of the qun and listen to his thought process, the things he does makes sense. he uses the qun to justify slaughtering kirkwall's people, which is utterly inexcusable and what makes him a villain, but his character is complex enough to make dealing with him that much more thought provoking. he sends agents to kill petrice because she was killing his people, he doesn't give up the elves because they committed their lives to the qun, no matter how recently they converted, and he refuses to leave without the tome (and isabela) because his idea of justice hasn't been done. his logic makes sense, generally, though it is wrong on more than one occasion. he isn't moral, but he is methodical.

i feel this way about solas, too. i like da2's arishok for the same reasons that initially draw people to solas, i think. when we meet them, i find them interesting and educational to talk to, someone worthy of respect, and someone very honorable in their own way. similarly, many of my issues with solas compare with flaws in the qun/the arishok.

solas asserts that all of his beliefs are correct, and we're never allowed to challenge him on any of it. if he has high enough approval, he'll approach you to go, "yknow, i thought you were all [insert prejudice or stereotype] but YOU showed me that some of you guys are actually okay," which is NOT what it looks like for someone's beliefs to be challenged.

brief aside, i want to be fair in that we don't get this opportunity with many of the companions, and it's not even an inquisition specific issue. the dialogue format is agree, joke, be mean, and it's flawed, but it works in the majority of interactions. we don't really get to engage in nuanced discussions with characters, but there are positives and negatives to the system overall. it is possible to challenge and shape a character within this dialogue system (i.e., garrus vakarian) but in dragon age that really only comes in the form of harden/unharden. it was a little more doable with origins' system, but it really hasn't been a huge part of any dragon age game. most characters' beliefs remain largely unchanged by you regardless of how you play.

solas also possesses a strong sense of duty and purpose, though what duty he has, what his true goals are, he keeps hidden as long as he can. the most damning comparison though, to me, is how willing he is to destroy the world and bring back "his people," while the qunari fight to conquer the world and homogenize society into "their people."

in any case, with both him and the arishok, you can see the wheels turning in their heads. you can see why they do what they do, even if it's wholly immoral. it makes their threat a lot more personal, a lot scarier, psychologically, that a "normal" person, who doesn't want to cause suffering, can hold such specific beliefs and such strong conviction that knowing that they'll hurt people doesn't give them any pause. the root of their motivation is understandable. solas wants to right his wrongs, at his core. the arishok implicitly believes that the qun is safer, better for its people than life outside the qun. we can see that they're taking it too far, but they don't care. it makes them good villains.

"i am not corypheus, i take no joy in this." sure, which is a very similar sentiment, emotionally, to the qunari sense of duty. you can say you don't enjoy it all you want, you're still committing genocide. you can hate the qunari all you want, but you fight with their ferocity, their unshakeable faith in their own cause. their need to "do what's right," no matter who's caught in the wake.

i understand why people like solas, i go back and forth on it myself, but i don't think he's all that different from the arishok in method and motivation. they're each thrust into a world so different from what they believe is "right" that they demand it change around them. if we had to kill the old arishok, then if solas refuses to give up, he will have to die. he doesn't get to do genocide just because he's romanceable. he's a good character, he's a good villain, but he's not a good guy, and unless he stops before he does any real harm (which he will not do), he should share the arishok's fate.