#his flaws are what make him more interesting and compelling to me

[twisted-up-in-wonderland]

Okay… I am going to begin this by saying I love Vil. I agree that he gets a lot of hate he does not deserve.

But I actually do think I will challenge the idea that he doesn’t force his standards upon others.

Specifically, Epel.

And no, I am not talking about his accent. I understand Vil’s point in that and accept it.

But the fact of the matter is, even though Epel eventually came to see the power that being cute could lead him to have, Epel did not want that. I am specifically remembering Epel’s ceremonial robe vignette and the groovy image for it and…

Does that look like the face of someone who is happy with what he is being taught or being forced to learn? He looks m i s e r a b l e. And this is before Vil even enters the room and immediately targets him to begin his “training” to become a proper Pomefiore student. And that instant training is HARSH and PHYSICAL.

I understand that Vil is the Housewarden, but he does not do this with anyone else in the dorm, and forcing Epel to take etiquette lessons and the like? That’s not what the dorm is SUPPOSED to be about.

The Pomefiore dorm is supposed to be founded on the ideal of the Fairest Queen’s tenacity, not the Fairest Queen herself. So, with that in mind, Epel’s drive and determination to be more manly and tough no matter how hard it would be for him to achieve his goal would have fit the ideals the dorm is supposed to promote.

But everything I see suggests the entirety of the dorm (NOT just Vil) focuses on idealizing the Fairest Queen herself, not her tenacity, so they focus on beauty and royalty. To the point that Vil feels the need to harshly correct Epel, so that he is a “proper” Pomefiore student. Because Vil beat him in a fight at the welcoming ceremony and so Epel is under his thumb.

I honestly, truly adore Vil. I wish he had more love. Because he deserves it. But I also don’t think that just because I love his character I should ignore his flaws. It’s not an all or nothing thing. I don’t have to hate him and think he is everything wrong with Twisted Wonderland or love him and think he is flawless.

Vil is not terrible. He deserves to be a hero in many movies. He deserves his time to shine. He is not a villain. He is beautiful and talented and has worked hard to get to the top and stay there.

He also DOES force his standards on others at times and Epel can attest to that.

smth that like. i end up thinking abt a lot is the way vil is a character whose in-game experiences are really mirrored by a big chunk of the way fandom treats him.

vils beauty is smth that he’s been villainized for his entire life. he’s too beautiful, too gorgeous, and in the minds of many, that automatically equates to things like “mean/evil/cruel.” as if his beauty = villain

and that perception is one he struggles with. no one lets him play the role of hero bc a lot of the time, a hero is someone the audience roots for and relates to. but no one can “relate” to vil bc his beauty others him. neige has a beauty that is innocent but also attainable. that’s what makes him the perfect hero. for some reason, it’s almost unfathomable to most that someone beautiful who also cares about being beautiful could be smth other than a “mean girl” or a villain.

and the thing is, vil does care abt beauty! and that’s okay! valuing beauty is not inherently evil, and the way fanon (and when I say fanon, i obviously don’t mean everyone, there’s also a lot of ppl who see vil and actually understand the complexities of his character) twists that to “forcing his standard upon others” is honestly wrong. vil holds himself to such a high standard, but the “standard” he’s holding others too is being the best versions of themselves they could be.

his correcting epel on language usage is literally not smth sinister or classist. the EN translation didnt get the translation accurate. correcting epel was literally abt being aware that not many would be able to understand epel if he continued to speak in that dialect, and in other cases, seen as rude. he was preparing epel for future opportunities and circumstances. epels grandma literally switches her way of speaking when meeting the boys at Harveston, so it’s not smth that’s got zero precedent.

and in cases where vil is believed to be envious of others beauty it’s like—who doesn’t feel jealous at times? he mentions being a little jealous that silver does nothing with his hair and yet it’s so fine. that’s understandable! vil is someone who puts work in his beauty. he doesn’t just coast on what’s already there he exercises. he cut out mayo even tho he loved it bc he ended up breaking out. he holds himself to strict food regimens. he makes beauty products. so like-this envy? it’s healthy, he expresses it, and then he gifts silver self-made hair and skin products. bc his envy doesn’t manifest as wanting others to be less than him. it manifests as appreciation and wanting to see improvement. bc!! he’s a good person!!

ive seen fics and content where it’s like “he values beauty/his figure over the lives of others.” my dudes. this man literally sacrificed his youth and beauty to save idia/close the underworld. “Oh but he regretted it! and he got it back!” yeah he cried his heart out who WOULDN’T! and as for getting it back—learning a lesson or making sacrifices shouldn’t always hinge on like whether or not the character makes these sacrifices continues to suffer or whatever. like redemption (even tho he rlly doesn’t need to be redeemed) doesn’t only become valid if someone suffers or if suffering is constant.

vil gets relegated to roles like “the bitchy ex” or the “mean girl” or someone who is constantly cruel and vain and a bully when that’s literally the antithesis of what vil is.

so for that, i really really appreciate the content creators who write fic or make art where vil as a character is more than the villain he tries so hard not to be.

[sorcave]

After spending some time thinking about Peter Pettigrew, I’ve realized there’s a huge disconnect between how he’s portrayed in canon and how the fandom—especially within Marauders fanon—handles him. Let me preface this by saying, I get it. The Marauders era is filled with beloved, tragic characters like Sirius, Remus, and James, who are all charismatic in their own ways. It’s easy to frame Peter as the villain, the weak link in the group, because, well, he is the one who betrays them. But I can’t help feeling like fanon’s interpretation of him has become deeply flawed and even unfair in its simplification of his character.

Peter Pettigrew, as written in the books, is actually a much more complex figure than the rat-betrayer caricature that fanon often makes him out to be. He’s not some mustache-twirling villain, nor is he just a pathetic hanger-on who was lucky to be in the Marauders’ circle. If you really pay attention to the way his character is written, he’s someone who’s constantly underestimated by the people around him, including the very friends he ends up betraying. He’s not powerful in the traditional sense, but his cunning is what allows him to survive the chaos of two wizarding wars. He’s not a mastermind, sure, but he’s resourceful in a way that deserves more recognition than he gets. Canonically, it’s clear that he isn’t just bumbling around until he stumbles into Voldemort’s arms—he’s making calculated choices, and we need to give those choices the weight they deserve.

This brings me to why I think fanon’s insistence on reducing Peter to a one-dimensional villain is so misguided. There's this huge trend in Marauders fandom where Peter is either villainized beyond recognition or, worse, completely written out of the story. He’s often replaced in fanon with a random “better” Marauder, or he’s ignored entirely, as if his betrayal somehow disqualifies him from being part of the story. And here’s the thing: canon compliance isn’t a crime! In fact, canon gives us a far more interesting story. The tragedy of Peter’s betrayal is that he was their friend—he shared their dorm, their secrets, and their history. His actions were not driven by some inherent evil but by fear, survival instincts, and yes, cowardice. It’s a much richer narrative than reducing him to a monster.

In the fandom, there’s often this hyperfocus on moral purity when it comes to the Marauders, especially when it comes to ships and rewriting dynamics. Peter, however, disrupts that neat narrative, so fanon tries to erase him to preserve the integrity of the fan-created relationships. But that oversimplifies everything. Why should we villainize people for sticking to canon when canon is, arguably, what makes the Marauders’ story so compelling in the first place? The fall of the Marauders—this group of young, talented, promising boys—hinges on Peter’s betrayal. You can't just ignore that without losing a fundamental piece of what makes their story so tragic. He’s not a random character you can swap out. He’s the pivot point.

Peter’s character also raises some interesting discussions about how we view heroism and villainy in fandom spaces. For instance, we’re often quick to forgive other characters—Sirius, for all his bravado, is reckless and cruel to people like Snape, but we don’t hold it against him in the same way. We empathize with his trauma, his tragic backstory. So why is it that Peter, who is also a product of his circumstances, is written off? He wasn’t born evil; he was shaped by the same war that shaped all of them, but his path led him to make different choices. There’s something so fascinating about exploring how someone who was once a friend could betray everything. It’s a conversation about human flaws, not just villainy.

And yes, in a world full of Marauders fan content, it’s fine to like your AUs or write your fix-its. But let’s not pretend that sticking to canon, and appreciating Peter for the complex character he is, is somehow less valid. The fandom would benefit from looking at Peter as more than just “the betrayer” and instead as someone who, like everyone else in the story, is a deeply flawed person whose mistakes have devastating consequences. That makes the story richer, more painful, and ultimately, more meaningful.

forgive me for the ramble but Im going insane with my term paper and my thesis, unfortunately I've been diving too deep into the marauders again

[secriden]

So I was pondering just why I like Style so much and why his specific "failings" and imperfections are so compelling to me - and I think it's because all the other main characters are flawed in ways that are obvious but not very relatable.

Fadel and Bison are murders. Regardless of their motivations and how much they buy into Mama Lilly's propaganda, they still have taken lives and do so with little remorse. Kant is actively lying to, manipulating and taking advantage of Bison and Style (his supposed best friend) for his own ends with seemingly very little compunction. Yes, he's got his reasons; but still.

And then you have Style. His major flaw is that he is thoughtless and selfish and he doesn't seem to understand how to leash in his impulsive desires. This means he constantly ignores or crosses Fadel's boundaries to the point that, by the end of episode 3, is genuinely hurtful. All the same, compared to the things Fadel, Bison, and Kant have done and are still doing (reminder: ep 3 opened with another murder/assassination), this is relatively tame.

But that's precisely why I think people are being so harsh to him vs the other characters. Many of us have felt like the victim of someone like this because it's so common and so we relate to Fadel's frustration and then hurt and anger, and that makes Style actions feel painful in a way that’s personal. Few of us have been victims of the level of violence or manipulation that Fadel and Bison and Kant are dishing out.

Yet that's precisely why I like Style - he's imperfect in ways that add realistic complexity to his character. Why would we expect a character who is bold, brash, and impulsive to also be thoughtful and considerate?? He acts before he can think about things: that's the whole point of his character. He juxtaposes Fadel perfectly because Fadel "plans everything down from years, months, weeks to days" and Style hasn't acted with more than 8 seconds of forethought in his life. It’s part of what makes him perfect for Kant's plan in the first place.

But then, but THEN once Style begins interacting with Fadel, we start to get moments when Style seems to still and become intensely focused - most notably:

Right after the confrontation in the locker rooms (sadly I don't think anyone's gif'ed this yet, so screenshots it is!)...

…after his conversation with Bison about Fadel…

…and when he watches Fadel beat 3 guys up with ease.

We are watching Style find reasons to grow. We are seeing moments when he’s catching himself, slowing down, thinking, wondering. And while it initially starts with curiosity, he so quickly falls into fascination and obsession, and by the end of episode 3 it’s clear he wants more. It's not just about understanding Fadel anymore, Style wants to have him for himself. And if he's going to be something meaningful to Fadel he’s going to have to mature.

This is why I find Style so interesting and so fun to watch. He’s loud, in your face, and obnoxious so the layers aren’t as obvious. We think there’s nothing more there, but his complexity is deceptively hidden while they’re ironically much clearer in the quiet characters like Fadel and Kant.

And I don't think it's unreasonable to expect this growth. Style is written TO HAVE ROOM TO GROW. And, yes, I do think Style is going to rise gloriously to the challenge. We already have hints that this is precisely where the narrative means to take him:

(Fuck, look at how soft and earnest Style's expression is in the left screenshot. ;A;)

He’s by no means perfect but that gives him space to have a hell of a character arc and I, for one, can’t wait for it. 🙌

[better-than-sleeping]

A part of Richard's isolation from the group that I would like to put forward is this:

I truly do believe the group care for Richard as a friend, even when their relationships start to spiral out of control near the end. But that care isn't always present throughout their lives, the same way most people aren't constantly obsessing over their friend's feelings 24/7, and he cannot understand it.

It's not just the stuff you would typically think of that proves this to me, like the twins going out of their way to include him, companionable rambles with Bunny, making food with Francis. The most obvious instance of this is Richard being excluded from the Bacchanalia, and yes, this obviously sucks as someone trying so desperately to be included and a part of the group, but also makes so much sense from their perspective.

If Richard had been normal, he would have been so weirded out! This could be a convenient excuse, but it could just as easily be the group showing their own desires to be accepted by HIM, in a kind of reverse of roles that Richard naturally doesn't want to pick up on, because that would be seeing them human, and fallible, and SIMILAR TO HIMSELF. Unthinkable!

Something I've not seen discussed is the little aside when he first falls in with the group proper and relates that they had found him just as aloof as he had found them. Their inviting him to Francis's house was simply an urge to impress him, and I can't see any other way of reading it than that. If they had simply wanted to include him, but didn't care about how he saw them, they could have simply kept inviting him to their houses and out for lunch.

But, it's the moments that also double as little instances of ostracism that really interest me: Camilla saying Henry didn't want to do another pig ritual because he thought it would upset Richard, the group telling him they've already involved him enough and that he shouldn't participate in Bunny's murder. The general reading of this (that I've seen so far) seems to be that Henry did these things purposefully to keep Richard apart from the group, he didn't know him as well as the others, an unknown quantity, someone he didn't care for as much since he hadn't known him as long. But there's a lot of ambiguity there as well, and I think what makes things so compelling is that uncertainty. It could be purposeful, or unintentional, or some inextricable combination of the two.

(As an aside- ironically, I believe Henry may care about Richard the most out of anyone in the group. Helping him while he was sick, worried about seeing Richard drunk during the day, it's all rather sweet, and I don't believe it was entirely some machievellian scheme.)

However, I like to see the isolation as mostly, if not entirely unintentional, because that makes it so much more cutting to me. It's subtle. They don't put any special thought into doing it, they just…don't even think how these things could make him feel.

The worst part is, as far as I remember, Richard never fully engages with his feelings about this, but they are felt so much through the story and his actions within them. They are moments that sunk deep within his psyche like a stone that's dropped into water and swallowed immediately without a trace. It sits very still inside him, unmoveable.

His acceptance of these moments as they are happening to him is likely a result of his history of loneliness and being apart from others. There is nothing unusual to him about this, that it would require further thought from him within his narrative.

A large part of Richard's isolation is due to his glorification of the people he deems worthy, which continues even after he begins to see their flaws. Despite them, he still can't bear to see them torn down to his level, people he can relate to instead of glorify or look down upon. I think there is an element of self destruction to this, not wanting to understand so he has an excuse to punish himself for self perceived deficiencies.

It's very intriguing, this uncertainty of how much of Richard's isolation from the group is imagined, or perhaps even self imposed in a kind of feedback loop, where he feels pushed away and so pulls himself away from them, to anonymous parties with people he professes not to care about, takes pills and sleeps for days, to numb himself from the pain of their rejection.

And in the process, this feeling of isolation is enforced, becomes more a reality through the concrete evidence he has produced by himself. Maybe the group see his behaviour and think he needs space, they give it to him. He feels lonely, he says nothing. Because he would rather freeze to death than ask for help.

[powdermelonkeg]

just saw ur gale/mystra analysis post. im new to the game and dnd lore and honestly… ur take on their relationship feels like the most natural/compelling one??? esp since its all too easy to simplify topics that have many facets and nuance….

thanks for sharing i love analysis and reading people’s takes on narratives : D

My pleasure! (Bee from the future here: congrats, you spawned another meta!)

I love complicated characters, WAY more than I like a clear cut-and-dry case. Flaws, to me, are what make a character compelling and lead to interesting stories about them with choices that can get them into situations. I'm both writing a fanfic and running a campaign where I'm playing as Gale, and in the interest of portraying him properly and in-character, I've gone into SUCH a deep dive into all the decisions and facts that make him him.

It helps to, y'know, also be in love with the fictional wizard, but I digress

The thing about Baldur's Gate 3 is that no character in there is perfect. I've seen a couple analyses about the theme of continuing cycles of abuse vs breaking out of them, but in my mind, in terms of the characters themselves, it goes like this:

The origin characters have just come out of the lowest situation of their lives (Lae'zel being the exception; being tadpoled is a gith's worst nightmare. You're seeing that lowest situation in real time).

Not the lowest point, mind. Gale's lowest was probably the day after he got the Orb. Wyll's was probably the day his father cast him out. Karlach's was the day she lost her heart. But the lowest, accepted normal for them is what they've just left.

They're then thrown out of their depth and forced to rely on you to live. That's #1 priority: living. We get the extremes of these characters before we get their nuances, because they're quite literally at their breaking points.

Then once we get to know them, we see their wants, their hopes, their fears, as they open up to us. Every companion's story is at their own pace, but they all have a moment where they ping-pong between despondency and desire. Sometimes that desire is what we know isn't good for them, like Shadowheart wanting to be a Dark Justiciar. Sometimes that despondency is only for a flicker, like Astarion's realization that he's condemned 7000 people to a half-life of tortured spawnhood for as long as he's been a vampire.

Romance lets us crack all that open more, because if you pursue a romantic partner, they see you as their closest confidant. They WANT to trust you, so they're more willing to explain how they see the world and what decisions they want to chase.

And then their endings. Those often get simplified as good/bad, continuing the cycle vs breaking away from it. But how is Duke Wyll on the same platform as Ascended Astarion? He's not evil, he's not even entirely unhappy. He might even have broken out of his abusive cycle with Mizora, if you played your cards right. And Ascended Astarion is overjoyed, even if he is remarkably more cold.

I think that the endings are less a dichotomy of "this is good for them" vs "this is bad for them," and more one of "bringing out their best traits" vs "bringing out their worst."

Wyll's worst trait is being willing to sacrifice his own wants for whatever people desire of him. His best is standing for what he believes in and ensuring people are safe. Duke Wyll leans into that necessity to turn the other cheek in the name of people who count on him, while the Blade of Avernus has seized that moral compass of his and forged it out of mithral.

Shadowheart's worst trait is blind obedience at the cost of her individuality, while her best is her desire to be kind to things that don't deserve to be hurt. Mother Superior Shadowheart's whole life is defined by Shar. Selûnite Shadowheart's life is defined by her hospitality, especially towards animals.

Karlach's worst trait is how willing she is to accept that things are (to quote her) fucked, letting despair override hope. Her best is her durability in the face of horror. Exploded Karlach would rather die than try to work out a solution in the Hells, because she's terrified of facing Zariel alone. Mindflayer Karlach has accepted her fate and decides to give up her heart and soul to go out a hero, losing who she is. Fury of Avernus Karlach is willing to keep fighting for a solution, and by the time the epilogue happens, she's got her sights set on one.

Astarion's worst trait is his desire for power over people. His best trait is using the tools he has to his advantage. Ascended Astarion has let his powerhungry nature and paranoia lead all of his decisions, with his sights set on dominating mankind. Spawn Astarion has embraced what he is, and carved out a life for himself where he can do as he pleases.

Lae'zel's worst trait is her blind fanaticism, while her best trait is her individual dedication, making her loyalty a marriage of the two. Ascended Lae'zel is a meal for the lich queen, turning a blind eye to all Vlaakith's tried to do to her and literally being consumed by her fervor. Champion of Orpheus Lae'zel has turned her loyalty into something productive for diplomacy. Faerûnian Lae'zel has seized her individuality by the throat and decided her own future.

And then Gale. Gale's worst traits are his hubris and, paradoxically, his low self worth. His best traits are his creativity and wonder for the world. God Gale is the embodiment of ambition, having burned away all but that in pursuit of perfection. Exploded Gale has let his remorse blot out all hope for a redemption in which he does not die, because he thinks he's earned it. Professor Gale leads his life by embracing the school of Illusion and letting his creativity thrive, teaching others to do the same. House Husband Gale has multiple creative projects he's working on, and Adventurer Gale is always finding new sights to see and wanting to share them with you.

There are arguments to be made on which ending the origins are happiest in, certainly, or which one benefits them the most, but each ending represents the extreme of a facet they possess.

So with all that, there's a sort of malleable method to figuring out the ins and outs of a character.

You take their endings—all of them, all variables they can have—and reverse-engineer the flaws and details they carry. Then you start to notice how those work into their approvals for minor things: Astarion approving of your taking of the Blood of Lathander, or Shadowheart approving of standing up for Arabella. Getting a list of approvals and disapprovals is helpful, but having those endings on hand tells you why they react like that to a majority of their decisions.

You take their romance-route explanations of how they act, and apply those to earlier decisions. Astarion's confession to manipulating you and Araj-prompted admittance to using himself as a tool brings to light how he reacts to your decisions, regardless of his actual opinions on them. Wyll's fairytale romance and love of poetic adages speaks to his idealistic nature, and why he takes a sometimes-blinded approach to decisions in which the "right" answer isn't always the smart one.

You take their beginning reactions to stress and use that to measure how future decisions impact them. Lae'zel locks down and gets snappy when she's scared, while Gale immediately turns to diplomacy. Shadowheart has gallows humor, while Wyll turns to quiet acceptance. If they break from these and seem even worse, you know the situation is more dire in their minds than having seven days to live.

And then you factor in all their fun facts and dialogue choices and backstories.

A wizard falls in love with a goddess and her magic, attempts to retrieve a piece of her power for her, is scorned for his attempt and is cursed to die.

Give that backstory to a Tav. Look at how it changes.

A chaotic good wizard fell in love with a goddess, thought retrieving a piece of power for her would be a showy bouquet of love, and was punished for not thinking things through.

A lawful evil wizard fell in love with a goddess's power, snatched the most precious thing she owned, tried to use it to barter his way through to the secrets she kept, and was given a swift retribution.

Same backstory. Same class, same act, same goddess. Wildly different connotations. Wildly different conclusions as to who is in the wrong.

If you take all there is to Gale, all that the game shows us makes up his character, and apply it to this backstory, you get what really happened:

A wizard, enamored with magic, fell in love with a goddess. His desires led him to want more than she was willing to give. In his well-buried fear of inadequacy, he concluded that the reason she wouldn't indulge his ambitions was because he just hadn't proven himself worthy enough. So he tried to prove himself, but he lacked the context for what he was proving himself with. And the goddess, seeing a weapon that had killed her predecessor, saw this ambitious wizard as losing his way and coming for her just like the weapon's creator had. She was angry, she withdrew his link to her, and he didn't know why. So he drew the conclusion that she took his powers to punish him, and let that encompass his fall from grace.

Was he wrong to reach for what was out there?

If you knew that the answers to everything you cared about were not only known, but kept by someone you loved—someone who adored you—what would you do to ask to see them? What if your curiosities were if there were other planets with life out there, or how dark matter worked, or whether or not we could one day travel in the stars? What if it was the potential cure to an illness that's little-understood, or the way to make a program you dreamt up, or the scope of the true limits of your artistic talents? Would your answer change?

Was she wrong to cut him off?

If you were once hurt, and the person you loved—the person who adored you—brought the thing that caused it to your door, believing you'd want it, how would you react to seeing it? What if that thing was someone you thought you'd broken contact with, like a friend or family member you'd been trying to avoid? Would your answer change?

That's the sort of scope that needs to be applied to this, on both sides. You have to take the perspectives of each party, and apply two analogies instead of one.

Gale saw the vastness of the universe, untold wonders, the solution to every question he could ever dream up, and saw Mystra as withholding this from him because she thought he just wasn't worthy enough. To claim Mystra knew his perspective does her a disservice.

Mystra saw a cruel weapon she thought long gone, in the hands of someone who could use it, brought right to her, and thought Gale was willingly following the path of Karsus. To claim Gale knew her perspective does him a disservice.

Should Gale have researched his prize more, so he knew just what he was obtaining? Should he have kept his hands off a cursed book that would devour him? Of course he should have.

Should he have given up on chasing his dreams?

Should Mystra have understood that Gale's pursuit of power was nothing like Karsus'? Should she have communicated when she was angry instead of giving the cold shoulder? Of course she should have.

Should she have given him the benefit of the doubt?

That's the root of their falling out. That's what leads to hurt being inflicted. Understandable, human reactions to the situations they perceive. Unhealthy, unwise choices made afterwards.

You work backwards from this to figure out their dynamic as Chosen and goddess. You work forward from this to understand more of where Gale and Mystra are during the events of Baldur's Gate 3. Gale reached too high, and understands this. His goddess hates him, and he regrets this. Mystra isolated Gale, and understands this. Her Chosen wants redemption, and she wants to make it happen.

Just like we took Gale's character into account, we also have to take Mystra's.

A goddess is faced with a problem. She uses someone who's desperate for approval to solve it, by telling him to kill himself.

An evil goddess is faced with a threat to her reign. She sees someone who's unfailingly loyal and hates himself, and elects to have him tear himself apart rather than do anything about it.

A good goddess is terrified of the future. She sees someone who tried to hurt her, who's going to die anyways, and tells him to use it to save the world.

Same story. Same act, same power, same pawn. Different character. Different perspective. Different outlook on whether or not this is the right thing to do.

Mystra has died, multiple times, to people trying to stake claim to her domain. Someone appears with the very thing that could do it again, right as she's regained her stability.

She does not see mortals the way mortals do. She is timeless. She is eternal. She has a duty to protect billions of people, and one person lost to protect that number is more than worth the sacrifice.

People like to bring up the Seven Sisters as proof of Mystra's cruelty. For those unaware, Mystra asked permission to, then possessed, a woman, used her to court a man (with dubious consent from the woman), and bore seven children, all of whom were capable of bearing Mystra's power as Chosen without dying. The woman she possessed was killed in the process (reduced to no more than a husk, then slain by her now-husband, hoping to end her suffering), and the husband was horrified by the whole story.

Mystra needed Chosen in order to restore herself in the event that she was killed again, to prevent magic as a whole from collapsing and wreaking havoc on the mortal realm, like it had in the few seconds Mystryl had been dead. Elminster, Khelben Blackstaff, and the Seven Sisters contributed to this. The more Chosen she has, the better; what happens if Elminster dies? She can't afford to have all her eggs in one basket.

Mystra has Volo (yeah, that Volo) as a Weave Anchor, imparted with a portion of her power to prevent the Weave from shredding itself to pieces in her absence. All Chosen of Mystra are Weave Anchors by nature. The creation of Weave Anchors was mandated by Ao, the Overgod, and Chosen are the best way to make sure those anchors aren't drained by ambitious people hoping for godlike power. Chosen can, and will, defend themselves, unlike static locations (which Mystra also has). The anchors are why the Weave wasn't completely obliterated during Mystra's last death, when the Spellplague rose up, because they stabilized the Weave around them.

Everything Mystra does is in the name of the big picture, to prevent a catastrophe like the fall of Netheril from happening again. Her restriction of magic, her numerous Chosen, her creation of Weave Anchors, her destruction of those who would claim her power, it's all in the name of the stability she's been charged with. Dornal Silverhand's grief and Elué Silverhand's death, while regrettable, were worth it to bring seven more anchors into existence to save all of the Material.

So someone appears with the Crown of Karsus, potentially powerful enough to try to kill the other gods in the name of the Dead Three. She can't risk being a target of them. She can't risk the destruction of magic again.

Gale is going to die. He lives in fear. He begs for forgiveness.

In Mystra's eyes, she's offering him the best outcome. She'll let him die in service to her, to save Faerûn, and she'll forgive him. He's going to die anyways, and if he does this, she'll give him everything (she thinks) he could ever want in her realm. She's asking him to do what (she thinks) is the right thing.

"She would consider what she considers to be forgiveness."

Notably, she leaves the decision in his hands. She doesn't have Elminster lead him to the Nether Brain. She doesn't activate him as soon as he's there. When he lives yet, she doesn't revoke the charm that keeps him stable. And when he declines, when he lets it go and starts pursuing Karsus' path, she doesn't smite him on the spot.

She is (she thinks) being incredibly patient. If Gale is going to try to be Karsus II, she's ready for him. If he decides to walk off and keep the Orb, he's dug his own grave in the Fugue Plane (those who don't have a god to claim them roam endlessly as husks and form a wall of bodies around the City of Judgement).

From her perspective, she's not being unreasonable. But from the perspective of a mortal, she absolutely is.

"Now, I have a question for thee: what is the worth of a single mortal's life?"

This is a question she cannot answer properly.

I think a lot of characterization is lost whenever someone paints one of them as being totally in the right. But I also think you have to be invested in them as characters to want to see that characterization. If you want to write about Mystra, you have to try to get into her head, analyze the decisions she made, figure out why she thinks she was right, and follow the pattern.

Gale's sacrifice is a very predictable thing for her to ask for.

[nartml]

I get that THW was going for a sobering message of "sometimes you have to let people go" and "some friends can't stay forever", but it was hilariously unsuccessful.

It's still baffling to me, the amount of raving reviews calling it "the perfect ending".

Apart from the wild thematic inconsistencies, and the endless flaws with Hiccup's logic of "oh, yeah, I know that things have never before been this good for dragons, I know that Berk is living proof that even the most stubborn people can change their minds on dragons, I know that dragons thrive on companionship and love their humans, I know that good people exist, I know that I'm the instigator of a huge revolutionary period, butttttt..... because bad humans exist I'll lock away the entirety of the draconic population in a glorified underground cage, in the hopes that one day humans will stop being bad and learn to cooperate with the creatures that they question, or even forget, the existence of a measly decade after their disappearance. Magically.", this message plainly didn't fit.

Not just in a thematic context. I mean that it literally doesn't fit in this situation, and it doesn't fit the characters.

It doesn't even fit reality, because you have to let go of people for reasons. Some friends can't stay forever, for reasons.

Valid ones. Reasons like, you grew apart, you don't have shared interests anymore, they betrayed you in an unforgivable way, they're not good for you, they're not good to you, they died, etc etc.

Had any one of these happened? At any stage? The one thing you could, albeit pointlessly, argue is that they grew apart. That they outgrew each other.

Only that...they didn't? Did I miss something? Because Toothless flying away for, what, a day to spend some time with his love interest, is not outgrowing. Toothless finding romance does not mean that he and Hiccup grew apart.

And this isn't just about the Light Fury. I'm not discussing whether or not she's a good character (she isn't), and I'm not discussing whether or not she deserves Toothless (Ha, you're funny). Even if she were the absolute best, most perfect match for Toothless and a compelling character, it still wouldn't even remotely mean that he and Hiccup grew apart.

In fact, if you grow so far apart from your best friend that you can say goodbye to them forever, just because you found a new partner, then I really don't know what to tell you. (Except that you're probably not a good friend.)

Hiccup realizing that Toothless doesn't make him who he is, and doesn't define him, that he doesn't need Toothless in order to be someone, or even that he doesn't need Toothless at all, doesn't mean that he outgrew him. Not even slightly.

I mean, come on, I don't need the vast majority of people in my life. Arguably, I might not even need any of the people in my life. This doesn't mean I don't want them there.

This doesn't mean that I won't fight for them to stay right here, by my side.

Oh, look, how's that for a change? How about a movie where your friends refuse to leave you? Because that's what I want, and that's what How To Train Your Dragon deserved.

That's what Hiccup, and the rest of the Berkians, deserved. And that's what fit. That's what thematically fit, what fit reality, or at least the httyd reality, and what fit the characters themselves.

This movie treated the dragons as mindless pets, whereas in every other step of the way, they were treated as people.

Toothless isn't a just slobbery puppy.

Toothless is intelligent, curious, kind, understanding, funny, snarky and sarcastic, graceful, elusive, protective, loving, wary, and fucking loyal (plus much more).

I can't think of a character that has demonstrated as much loyalty and protectiveness as this guy.

And yet he was barely any of the aforementioned things in thw. He became unrecognizable.

All the dragons became unrecognizable, for no justifiable reason.

The final message shouldn't have been that your friends sometimes have to leave you, and that you have to let them go.

(The humans left the dragons just as much as the dragons left the humans btw)

It should've been that they'll fight tooth and nail to stay, even when the going gets tough, even when priorities shift, even when you tell them to go.

No matter how passionately you insist that caring for you is rotten work.

It's not to them.

[goldenwoods]

Just got into Love like the galaxy two years late and I'm loving the writing of Buyi and Shaoshang's relationship. It's like if every cdrama trope got perfected into something that's both realistically flawed but also wholesome and non-toxic. LBY is the cold, high status male lead that's so common in this type of drama but he never consciously uses this to get close to Shaoshang. He found her interesting but never uses his position to play around with her, or 'ask' her to see him using stupid excuses knowing she couldn't refuse, instead he simply goes about his own business and simply shows more attention to her whenever he sees her in distress.

After Shaoshang gets together with A Yao, Buyi largely leaves them alone, and promptly goes about accepting that his love's gonna be unrequited without being a bother. Buyi never sidelines A Yao and never made any advances on Shaoshang while she was in a relationship. Even when helping her after she witnessed Zhaojun execute someone in front of her eyes, he comforts her in her immediate distress, promptly gives her space so she could do what she came here for (i.e. talk to Zhaojun), and only stepped back in when he realised that Shaoshang had been rendered unable to respond by the sight of the severed head.

LBY is by no means perfect: for instance, he just kinda forgot to ask Shaoshang first before proposing in front of the emperor, was too dense to think too much about the various difficulties that might have compelled Shaoshang to accept the fricking emperor's decree to marry, and was an overbearing terror in an attempt to care for Shaoshang's family after their engagement. That said: it's lovely that the writing made this a genuine plot point and character flaw for Shaoshang to call him out on, instead of making their early relationship problems a silly 'idk if he/she really loves me since we got together for xyz reasons' thing.

I think out of all the multitudes of male leads who're like 'I love a "feisty" woman', Buyi's like the person who fully showed that he wanted someone who's independent, has agency, and can speak and think for herself, not because he thinks a girl who can talk back to him is "hehe interesting" in the same way that they might think a little pet is interesting. He genuinely gets worried and uncomfortable when she becomes quiet and stops bothering to defend herself against insults, talks to her properly instead of conversing solely in teases and jokes, and improves upon her concerns instead of just going "aww she doesn't understand my love :((" until the narrative feeds them a life-or-death moment that emotionally blackmails them into reconciling.

[avianconcept]

Lucas Johnson, and why he was one of my favorites in TSC.

I see a lot of people hating on him for his reactions + actions towards Jean in TSC, which is fine! Everyone’s allowed to not like characters, and we’re all on Jean’s side! Lucas enabled a really traumatizing and dangerous situation. But I keep seeing these posts referring to him as an asshole who Jean should have revenge of some sort on, and I’m like ??? 

I thought Lucas had one of the most interesting arcs in TSC, and tied in really well with one of the central messages of the story. I think he’s a character who is in a lot of distress that he is unprepared to handle, and is still seeking the painful truth. Yes he was a dick to Jean several times, but I don’t think this makes him an Evil Antagonist or a little shit or whatever else he is referred to as. I found Lucas and Jean’s plotline to be one of the most compelling in the whole book. It made me think about how much knowing the truth matters, even if it can’t change the scenario. This is going to be a long and unstructured mess that is sort of about Lucas, sort of about the Ravens vs Trojans, sort of about themes. I apologize in advance, but this has been kicking around in my brain since I finished TSC the day it came out. 

I’m going to start with the straightforward bit: why I personally think Lucas is over-hated, and why I liked him. 

I think most of it comes from the fact that we as readers forget that not all characters are operating with the same information and perspective that we are. Our perception of the situation is informed by Jean’s POV– in a lot of ways, his perception is ours. So we have known from pretty much minute one that Jean isn’t an asshole, that the rumors about him aren’t true, and that Grayson is a serial rapist. So when we see Lucas not believing Jean, questioning him or calling him a whore, we see it the way Jean sees it: a nosy, rude, foolish man who is going out of his way to make Jean’s and his own life difficult unnecessarily. 

But when you think about it from Lucas’ POV, remembering that Lucas does not know the things we know about Jean and Grayson, Lucas’ actions make a lot more sense. 

Imagine, for a moment, that you have an older brother. You grew up together, you played the same sport, you loved him. And then he leaves, and goes no contact out of the blue. You try and try and you can’t get a hold of him, even when you join a college team yourself. But then one day, after his team falls apart, he comes home. He comes home angry and wrong and you can barely recognize him.The only way you can get him to engage with you is about this ex teammate of his. He gets angry, attacks you, hits you until you lose teeth. The rest of his team is being put in inpatient care in psych hospitals. You’re not sure whats wrong with him, only that this is not the brother you loved– there is something very wrong with him, and the only thing he’ll talk about is Jean Moreau. 

I feel like when we see it this way, it isn’t hard to get why Lucas came out so hostile when he met Jean. Jean was already surrounded by this (false, unfair) media perception, and then Grayson talks about how much he hates him. When you bear in mind that Lucas has known Grayson his whole life (minus the last four or so years), and Jean for about two minutes– it doesn’t surprise me that he does not immediately take Jean’s side. I’d even go so far as to say that it would make no sense if he did. ESPECIALLY when from Lucas’ POV, Jean starts saying all of this horrible (true) shit about Grayson, which has got to be a sore spot for Lucas atm. Because Lucas doesn’t understand that 

Sidebar: I don’t say any of this to blame Jean, or say that Lucas is without flaw– I say it because it’s a really well written conflict. In both characters' heads, they’re each making perfect sense. It’s irritating to me in books when the author has thrown in a conflict for drama only, by making two characters hate each other for no reason. This situation is really compelling to read about for this reason. 

I’ve seen a few of takes along the lines of, “How dare Lucas keep pushing Jean for answers/bring Grayson to the Gold Court/not believe Jean when Jean is CLEARLY traumatized.” And I get it– it was painful and frustrating to see him not understand. But also I think we as longtime lovers of AFTG have had ten-ish years to get used to the Foxes, and their understanding of trauma. For them, the parts of trauma that are triggers and erratic behavior and strange boundaries are navigated almost instinctively because it is all of their lived experience. They all (mostly) learned the language of when to push and when to back off because they have areas themselves that they don’t want to be asked about. Though they don’t use therapy speak, and though the way they deal with it often ranges from unorthodox to downright problematic, they have an understanding of the weight of what they’re working around. 

Lucas Johnson does not come from this world. He does not have this understanding– it is likely that the first time he was afraid in his own house was when Grayson came home. Now, compared to how gently and tactfully some of the other Trojans handle Jean, like Jeremy, Cat, and Laila, or even Cody and Xavier knowing to back off about Jean’s scars; Lucas isn’t doing so great. He could have been better. There are a few things to consider though. 

One: None of Jeremy, Cat, Laila, Cody or Xavier have as much of a personal stake in this situation as Lucas does. For them, it's an issue between two teammates, not the brother they’re slowly realizing they don’t know anymore. 

Two: There’s been two instances of drama mentioned, one being whatever Cat’s freshman year drama was, and two being whatever Jeremy’s banquet situation is. So the floozies might actually have a little more of a clue about how to deal with difficult situations. 

Three: Lucas is also undergoing trauma. He had the shit beat out of him by the brother he so desperately wanted back. He’s realizing the brother he loved may actually be dead. That is traumatic and painful and does not make someone act like their best self. 

All of this to say– he goes about the situation in a really indelicate, inexperienced way, makes some really bad judgment calls, and I think that makes a ton of sense! 

ANYWAYS. God. 

The reason I think Lucas ties in really well with one of the main messages of TSC is how he reacts as he finds out more and more about Grayson. In his final conversation with Jean, he is grieving, afraid, and in shock, but he is willing to accept that Grayson is not the man he knew anymore– that Grayson turned into something horrific. 

Lucas, upon realizing this new information, doesn’t cling onto his old world view. He doesn’t try to find ways to spin it to keep his brother in the right and Jean in the wrong. He faces the evidence in front of him, and makes an effort to realign his perspective with what he now understands the truth to be. Put a pin in that for a second. 

One of the messages of TSC seems to be that to look away when you know something malignant is going on is an act of violence. 

Jeremy is the one who outright says it, I will not look away, but that sentiment is echoed in the actions of so many characters. Cat and Laila’s continued rejection of Jean’s scrimmages excuse for his injuries. Neil looking for more than a second at the state Jean was in after Grayson’s attack and realizing something was wrong. Lisinski not brushing off Jean’s reaction to the water and banning him from swimming, to keep him from doing it anyway. Xavier, Cat and Cody’s reactions to Jean's scars. Over and over again we see people refuse to look away. 

Think about the Nest, about the sexual assaults Jean’s freshman year. The backliners who assaulted him all knew Riko put them up to it, but none of them ever said it outright. This implies that everyone outside of the backline doesn’t know. Jean caused a stir because of his age and how quickly he changed partners– which means the Ravens knew he was sixteen. The Ravens, though they are psychologically screwed now, came from normal lives. Even though they didn’t know about Riko’s involvement, at least a few likely understood the concept of statutory rape. We know Thea at least saw what was going on, we know Zane KNEW about the assaults, Kevin apparently understands ‘half the truth’; either way, at a certain point, metaphorically or literally, they all turned away from the truth. 

This extends to Riko’s abuse of Jean and Kevin, too. Jean mentions that he and Kevin went to great lengths to hide what Riko was doing to them from the Ravens. But, given the level of forced proximity on the team, I think that even with these layers of secrets, it isn’t insane to think that the Ravens likely saw clues. They apparently knew Riko was violent. They know Tetsuji is, so really, how big of a stretch would it be? In Lazarus, Renee notices that Zane sounds hesitant when he says that Jean was with Riko, which implies that he does have a clue what's going on in that sense.

I don’t say all of this under the impression that the Ravens could have stood up to Riko or Tetsuji, or put a stop to much of it. I say this to point out the significance of the truth, and acknowledging or avoiding it. 

The point is– for these lies to work, for the story to hold, everyone around them had to reach a point of Looking Away. 

Looking away from someone in distress and accepting the simple narrative is easy, but the right thing is always to not look away. To keep looking until you see the whole picture, because the person you’re looking at is worth it. Even if it can change nothing, the truth matters.

To me, Lucas does this! When you think about it from his POV, he has SO MUCH MORE of a reason to believe Grayson. He was a reason to want Grayson’s version to be true. If Grayson is telling the truth, then Jean is a whore and an asshole and maybe, just maybe, Lucas can still have his brother back. Sure, Grayson’s hurt him, but that could just be stress and Raven related trauma. Not acknowledging that Grayson has crossed irredeemable lines leaves the door open for Lucas to keep the version of his brother that he dearly loves and misses. It would be easier for him to double down, to deny and defend. To buy the easy, common story  And yet he doesn’t. He questions and starts to see his brother differently- he BELIEVES that his brother could be different than the man who left four years ago. He does not blind himself to the things he's seeing and hearing in favor of holding onto some false, memory version of Grayson. To me, that takes an immense strength of character, and a commitment to what is right.  And that is why Lucas was one of my favorite

[iamnmbr3]

I hate it when people say Ginny "deserved better" when it comes to the way she was written and portrayed in canon. I'm sorry but no she didn't deserve better. She was a barely there Mary Sue character who existed primarily to be the future wife of Harry and link to him joining the Weasley family. She was also supposed to be this very powerful witch but again it never paid off. She didn't amount to anything. She turned out to be a big nothing burger of a character.

Idk. I do think she deserves better, though I definitely get where you're coming from. Ginny as a character really annoys me from book 6 on. Book 6 and 7 Ginny feels like a shallow and annoying Mary Sue and also is just kinda mean and I hate that she never gets called on her bad behavior. As soon as I feel like a story is trying to shove a character down my throat and insist that I love them and that they are flawless, I kinda feel turned off by the character and I want to hate them out of spite. Ginny's pettiness and stuff like her being pretty awful to Fleur and getting angry at Harry for even saying something nice about Fleur even though he has no romantic interest in her just really rubs me the wrong way. Especially bc these flaws are ignored and even glorified by the story. Plus there's not much there with her character.

She feels like this kinda wish fulfillment empty vessel. And I hate that she gets touted as this perfect girl for Harry when their romance feels so empty and her character feels so un-compelling - which is honestly pretty unusual because generally the characters in HP are really interesting, even the ones we only hear a little about.

Now that said, I still do actually feel that she deserves better. What do I mean by that? Well, first of all, in-universe she ends up with someone who frankly, doesn't pay much attention to her. Harry barely knows anything about Ginny and never makes her his priority. Even in the epilogue it feels like he barely even consulted her on naming their children. He never really views her as an equal or respects her opinion. And she seems to feel pressured to act a certain way to please him. Like not crying in front of him because it might bother him, but apparently having been extremely upset after their breakup according to Ron etc. I don't think they are really compatible or have a deep or substantive relationship and I think that's sad and she (or anyone in that situation) deserves better.

Also from a more Doylist POV she deserved better because her character had so much potential. I actually loved Ginny in book 5. She has a lot of growth but also still feels connected to who she was in the first 4 books. She doesn't need to be amazing and perfect at everything. She's human and real. She catches a snitch by luck because it was slow and her competitor looked away at the wrong moment - and she has the humility to notice and admit this. And it doesn't matter. Harry's professional-level good at Quidditch. She's good at other things. Also Harry and Ginny actually have a deeper and more trusting relationship in that book than in book 6, but I digress. She doesn't need to suddenly be an amazing seeker and an amazing chaser and be #NotLikeOtherGirls and super into Quidditch (even tho she wasn't in book 4) to be likable but book 6 makes her all these things and it just takes away from the real and human and flawed and empathetic and actually funny Ginny we have in book 5.

Also her whole backstory from book 2 was really promising. She and Harry could've bonded over both having had Voldemort inside their heads. She could've provided critical insights about Tom Riddle since she spent a year essentially being pen pals with him. She could've had an epic arc where in book 7 she took on a more central role in the fight and ultimately got to face her childhood monster and destroy a Horcrux. Also there was just a lot to explore with her dealing with the trauma from book 2. She could've done so much. But nope. She just gets reduced to Love Interest TM. So yeah we had this really great character who was just coming into her own in book 5 and had all this amazing potential and then gets absolutely torpedoed by JKR bc she doesn't know how to write romance. And I do think that's a shame.

Now I ship drarry and I think that's always going to be the most interesting and well set up relationship for Harry to be in. But I think Harry and Ginny getting together the way they did is realistic but I think they would then realize they aren't really a good match - they don't know each other and both are more attracted to the idea of each other than anything else. I think them realizing this and working through it would be something interesting to explore in an 8th year fic.

[deerspherestudios]

Hi! I played your game and really, really like it, I am a huge fan of slow burn - combined with Yandere too? That's kinda rare nowadays, haha. Thanks for making it and creating Mychael, I love his design. Two questions: How many days are planned to be playable in the full release?

And

Since in just one day Mychael feels very friendly towards us (according to a post you made with where his feelings are based on a meter) does that mean he's very clingy??? Like, in just one day he feels like our friend. What little effort and words will it take for him to go from crush, to love, to whatever yandere thing he might be??? Like, is he okay??? Should I be worried???

This guy? Clingy? Nahhh. Nothing to worry about, anon :-) 🍄❤️

As for the game, long (!!!) answer below cut: might be spoiler-y might be not.

For context, here's the post mentioned above.

I'm still not sure how many days it will be, but it's definitely ranging between 4-5 days. Granted it'll be a while before the game is finished finished but I think progress will pick up as I complete assets that will be reused. I'm writing Days 2, 3 and 4 simultaneously (anyone who writes can probably relate to wanting a specific thing to happen in the story but dread writing up to it, so I skip around in order to keep my motivation and interest up)

As for relationship progression, slow burn usually means a long time passes before anything develops. But this is a VN and I'm a solo part-time dev so the scope still has to be small 😔 That said!

Mychael, as a person, is quite solitary in nature; he likes being alone and you'll find out why. He does however desire company and he's only realized just how pleasant having someone around can be (hence his reaction for the Bad Endings in Day 1 if you wish to leave/run away)

Although I'm not a fan of the 'you do one (1) nice thing any decent person would do and yandere is already head-over-heels for you' trope, I do have to make use of it but, drip-feed style? You grow closer to Mychael as you hang out with him and do little things that he appreciates. (Honestly I just realized I'm describing the typical visual novel experience just without the yandere beginning-- go! figure!!! /lh)

Example: the first thing that boosts you to immediate friend status is your willingness to accept his physical looks, something that's never happened to him before. (I know my artstyle makes him a yassified pretty boy but imagine genuinely meeting a sentient creature in real life with patchy green skin, a dextrous tail and four blinking pitch black eyes, I think I'd freak too haha) Little things like that mean a lot to him and motivates him to prolong your stay.

In a way, the MC is written to be more kinder and open-minded (at least outside of Bad Ends) than the sweet/sour personalities that come in a VN, so (for narrative AND coding purposes) I can't really diversify it much. I hope that's okay ¯\_(; v ; )_/¯ If Mychael met a more grouchy/mean MC on Day 1 he'd probably not be as attached. He'd just save you, feed you and send you home when you ask hahaha. Of course this will change as he gets to know you better, at that stage he'll be willing to overlook your flaws like any upstanding yandere

Phew this was a lot to dump in an ask but I did wanna explain my vision for the game! I enjoy yandere VNs as an escape fantasy, but it's common they start out with the yan already being invested in you or fall for you too fast!!! if that makes sense. I'm interested in yanderes in the aspect of how love (romantic or otherwise) starts from innocent affection and spirals into dark obsession!!! It's also compelling as to why a character is so devoted to someone, in this situation the MC, and I wanna write the kind of person Mychael would fall for. And personally 'love-at-first-sight' as a reason just doesn't do it for me 💔

(Disclaimer!!! I'm not saying my game is any more original or better than the other wonderful yan VNs in the works, but hopefully with Mychael as a character I can deliver that 'slow-burn-and-yearn' storyline I'd like it to be. As my itchio profile says: I make games I thirst for in secret but are sadly lacking around the internet 💔 )

Thank you for the ask!! :-D

[neyafromfrance95]

I really don’t understand why people are so divided on Celeborn. Like he’s always just been there and I never expected TROP to change that. Sure he’s boring but I can acknowledge that for Galadriel he makes sense and that she does love him. It doesn’t effect the intrigue of her relationship with Sauron which already existed well before TROP. It’s just that the show was smart enough to realize that and flesh it out. I think some fans have a provincial view on love and don’t understand that various layers of it can exist without detracting from the other. I can believe that Galadriel is in love and happy with Celebron and STILL feels a cosmic soul connection to Sauron. I think the writers understand that this is the meat of this adaptation because there’s a reason certain tropes are classics; the whole dark/light, good/evil push and pull. On a different note it also makes me wonder why people feel the need to whitewash Sauron’s character as this man who wants to try to be ‘good’ in order to ship him and Galadriel. I think s2 makes it very clear that he is at his core a dark and evil entity who at the very most finds human morality an interesting curiosity and warps ideas of goodness for his own gain. And monsters can still feel love, like I think he definitely feels connected to Galadriel and will only ever feel as deeply as he is capable for another being, for her. But because he is what he is, he has no problem manipulating her for what he thinks is best for her and ultimately what serves himself. They are on totally different ends in how they perceive the world and yet they see each other so clearly. This is what makes it interesting for me at least. Anyway let me stop rambling now lol

yeah, i agree.

i see celeborn as this emotional support husband who (unlike many other male characters in lotr) doesn't "dominate" his wife and is rather her follower. there is a good malewife potential for him, lol. and he is pretty much just a background "husband" character, not taking away the spotlight from galadriel.

and yes, just bc galadriel ends up married to celeborn and they might have a nice soft relationship doesn't mean that she doesn't have a far more special and deep connection with sauron, more passionate and poetic even.

but the reason why they can't be together and the whole tragic beauty of sauron x galadriel is that her gaze is fixed on the light while he is the darkness incarnate. and the fact that sauron is this irredeemable evil yet still loves galadriel and her only but in his own twisted way is what makes it more fascinating!

i wish we could allow female characters to have complicated, complex and flawed relationships instead of trying to limit them to the simple wholesome and easily digestible ones.

that being said, i don't really think it's gonna be interesting to focus on galadriel's relationship with celeborn in trop. we know their story already, we've seen them together in other media. this is the story of galadriel x sauron and taking the focus away from this relationship by introducing celeborn would be far from compelling or satisfying development. that's the reason i don't really want to see him until the end of the show.

(also, again, the reason for celeborn demand and discourse is that a lot of incelbros want galadriel to be this tame wifey and they think celeborn is going to come and take away her sword, and a lot of moralists want us to stop shipping "taboo" ships such as sauron x galadriel.)

[physalian]

Take A Risk and Don’t Write a Chosen One

This trope stands the test of time for some very good reasons: Audience wish-fulfillment as they live vicariously through the hero, automatic plot-induced agency for your protagonist, and automatic legitimate reasons for your protagonist to join the whirlwind adventure of the day.

I like chosen ones. We all have our favorite famous chosen ones and I’m not here to say the concept of a chosen one is bad at all.

However.

Those “automatic” windfalls that come pre-packaged with the trope can lead to the author taking shortcuts, or not thinking they have to put in more effort to write a compelling character, because they’re the “chosen one,” what more do you need?

Not writing your protagonist as commanded by the powers that be to participate in the plot forces you to get creative with why they’re here, what they want, and how they entrench themselves in the story. And most importantly, if the gods haven’t chosen them to act, they must now choose themselves to act.

—

I have never read Harry Potter and after its author-who-shan’t-be-named flushed her reputation down the toilet, I never will. I’ve seen the movies, they’re ok. I have no nostalgia-driven love for this franchise, and most of that comes from watching Harry be an incredibly boring protagonist.

Book readers correct me, but Harry is the poster child of “only exists so the audience can live vicariously” with generic heroic traits and nonexistent or at least unimportant side quirks and distinguishing hobbies, interests, or personality tics. He’s “brave” and “courageous” and “determined”... as most child protagonists of children’s books should be. He has zero flaws that come back to bite him in the ass. He acts the way he’s supposed to, not the way he should want to, as an independent being.

He’s the least interesting character in this entire cast, and I can’t stand Movie Ron. Ron, Hermione, Neville, or Draco would have made much more compelling protagonists and so much of this relies on the “Harry is important because the plot demands it” crutch.

Why is he the chosen one? Because his birthday happened at the right time of year? What is the story trying to say about the dichotomy between him and Voldemort? What about his personality, his wizard-societal stances on the many faux pas in this series, or the choices he makes, that makes him the chosen one? Why should I care?

You know who’s a great chosen one? Percy Jackson. Why? Because he understands the screwed up world he lives in on page 1. Being a demigod isn’t everything he ever dreamed and despite what Disney + wants you to believe, he’s got a crap bio dad who’s as disappointing in book one as Percy expects him to be.

He’s not even the chosen one by the end of the original series, and what a fantastic twist that was.

An infamously self-chosen protagonist has her own iconic hero quote: "I volunteer as tribute". Katniss is a nobody. She's not the evil president's daughter, she's not the child of a famously martyred revolutionary, she's just a girl who refuses to bow down to the reaping, refuses to let her sister get slaughtered, and volunteers for a death match that historically sees anyone living to survive another year cowering in relief. Yeah, she has some convenient skills in her archery and survival knowledge, but those matter because her district is starving, she learned through necessity.

Every second of her story, Katniss is fighting for her right to exist, and she only becomes a "chosen one" dragged around by the powers that be when she becomes marketable to the grand scheming of the actual revolutionaries, when, before, she didn't care about politics, she just wanted to save her sister. She matters because she chose compassion in a world where survival demands only serving yourself.

—

It’s so, so easy to start planning your book and make your cool fantasy world and figure out how your protagonist fits into it. So easy to say “well they’re the long-lost princess and the only heir to the throne” or “this magic amulet from her great great aunt is the key to saving the world” or “she’s the villain��s secret love child and the only one who can stop him because blood magic” or “this vague prophecy picked this little desert slave boy to bring balance to the Force”.

None of these stories are at fault for writing chosen ones.

But push yourself to let go of that crutch and come up with other reasons for why your hero is the hero. Usually this character has been isekai'd into magical-fantasy-land or magical-hidden-fantasy-urban-underbelly and you can still write that character.

Refusing to make them the chosen one demands one thing first and foremost: How is this outsider going to fight for their place to exist here? What do they bring to the table with their hobbies or interests or unique skillset that happens to be mighty applicable and useful in this new world? What is it about their personality that draws these strangers in? What do they want from this new world, and what are they willing to do to get it?

This choice demands you give your hero agency (though whether you give into those demands is up to you).

More importantly: I think it gives your audience agency, as they still live vicariously through their hero. Sure, lots of kids have lost their parents and live in horrid conditions like a cupboard under the stairs, but none of us will ever be “chosen” by omniscient wizard prophets. Harry would have immediately been a more compelling protagonist to me if he’d stumbled upon magical shenaniganry and fought for his place as some forgotten nobody mudblood.

Harry would have shown us his courage, instead of the story insisting he has it, we promise, just don’t think too hard about it.

Stop giving me characters who accept their destiny because God said so. Give me characters who fight tooth and nail for a destiny they discover on their own and I’ll root for them to succeed even more than someone compelled by force. Not everyone can be a chosen one, but everyone *can* choose themselves and decide to act.

—

With that said, I have an announcement! I have a new book in the works bereft of a prophecy-ordained hero. It’s time I put all my sagely writing wisdom to the test in a shiny published paperback myself. If you’ve learned anything from my blog in your writing journey, please subscribe for updates on the upcoming novel!

[astridhoff03]

My thoughts on Season 2 of the greatest Chaos in the World of DreamWorks TV…

Oh my gosh, did this season yet again not disappoint, even if it has a bit of a slow start, it is still a great story. I definitely can see past the little flaws, because it’s still a good show with emotional moments and thrilling adventures. Also at the end of the season it will get really dark, darker than the Jurassic World Trilogy ever could’ve gone. I got goosebumps just like watching the Jurassic Park movies. And more emotional than every movie in the Jurassic Park/World franchise. Such compelling, complex characters with well developed backstory’s. I honestly was speechless when I finished season two and thought again, wow they scored again with this show,

My favorite episode is definitely two because how they showed us, how Brooklynn reacts to the loss of her arm and the fact that everyone thinks she’s dead. Kiersten Kelly does a great job in executing Brooklynns emotional journey in this, I think she has took a bit inspiration of herself loosing an important part of the body.

And Soyona Santos is an incredible villain, her backstory is also really interesting and how she interacts in the whole show with Brooklynn is just amazing. My favorite scene of her is when she draws Brooklynn, she never was so intimidating and seems extremely intelligent and dangerous. Together with the Raptor Lady she’s now one of the best villains in the Jurassic Park franchise. Also I just noticed that the thing with the lazer makes actually a lot of sense, even if I think it’s not as scary as the whistle of the Raptor Lady. Also Soyonas animated version is prettier than her live action counterpart. It’s just funny how much more intimidating and dangerous the JW: Dominion villains are in the series.

What Brooklynn does is not good for her but I can also understand her, she wants to protect her friends and family. But it was sad to see that Ben was near at a panic attack when Brooklynn called him. Also Yaz and Sammy are still the cutest and heathliest relationship in the entire camp fam but I like that Darius and Kenji finally get along again, I missed their friendship and dynamic so much. Kenji has gone through so much, he’s the most tragic figure in the entire cast of how much he experienced loss in his life. And Yaz and Sammy have grown stronger together. I love how Sammy tries to decorate the container and Yaz watches her with so much love and admiration.

And don’t let me start on the dinosaurs this season. They were incredible. The Suchomimus or as Billy would said it Suchimimus has a beautiful design and many incredible action scenes, my favorite is when he fights the hippo. I also like the the communication between the Albino Baryonyx and the Atrociraptor Red, was very scary and also how he walked behind Brooklynn was bizarre. Leucotistic Baryonyx is also the perfect combination of the idea of the hybrids and the normal dinosaur from Jurassic Park. It’s like they’ve found a perfect compromise where every fan gets something out of it. The chase in the dark with the eyeless Baryonyx was scary as hell, I can’t find words for it and also with what calmness Soyona Santos guides Brooklynn through the darkness, while her friends get chased. Geba was also pretty cute and funny, I feared for her life in the last episodes. It was actually a really good Idea to show how humans, animals and the dinosaurs get along on other continents. Was very interesting to witness and also helped to understand the world better our heroes are now in. The Majungasaurus was also very cool to see finally in the Jurassic Franchise and I am happy that my favorite dinosaur of all time, the Allosaurus has a final hurrah in episode two. This magnificent beast was going through a lot, blindness, serval fights who could’ve easily ended deadly, she was blamed for killing Brooklynn, was hunted and serval times imprisoned. I feel very sorry for my favorite predator of the Jurassic Park franchise, hopefully she can find finally peace in her future as our Camp Family. But I guess we have to wait until season three. I am happy when I see DODGSON again and the biosyn valley.

[ardentpoop]

your thoughts on the whole Sam is like a psychopath at times and that makes him interesting kind of takes in the fandom? (The first post I saw like this was along the lines of how Bobby might have not noticed the differences between sam and soulless sam initially because they are actually very similar.) I think that these sort of takes are what you refer to when you say you dislike how the fandom calls sam blood freak. I agree with the blood freak thing bc I found sams writing of that arc very emotionally compelling and reducing it down to blood freak and how its so quirky sam likes blood infuriates me so much. Especially since it's usually from a certain set of ppl who typically don't pay much interest to Sam who do this a lot.

I don’t like it and I don’t want to see it :) I usually block people for takes like this fyi.

some of my absolute least favorite interpretations & characterizations from this fandom come from ppl who exaggerate sam’s Inherent Evil - which isn’t actually a thing if you’re thinking critically abt him as a character at all. his “dirtiness”/“freak” status/“craziness”/“badness” are all horrible things he believes about himself and that everyone with any measure of power in his world (including - most importantly - dean) reinforces, but the tragedy is that none of it is true. you’d think more of the audience would be able to grasp this very simple concept esp given the real-world implications. then again many people can’t even read a statement as basic as “supernatural’s hunters vs monsters worldview is fundamentally flawed” without freaking out at whoever posted it. so fuck me.

I don’t think I can give you a more detailed rebuttal rn because I am very tired and these takes in particular are genuinely upsetting to me at the best of times. however I wish more of the audience knew to pay attention to how sam’s Monstrosity is consistently framed throughout the series vs how dean’s (always fleeting, always beyond his control) Monstrosity is framed, because that way I could point out the differences btwn how the fandom talks abt soulless!sam (also known as “robo sam” by the fans) and how they talk about, say, MOC!dean….. without someone trying to claim I’m just being dramatic. there’s a double standard on the show that’s intensely worsened by the fandom; in fact the popular fanon affected the direction of the canon in terms of sam and dean’s treatment as characters over the years given this was a series that involved a pretty unique degree of writer/viewer collaboration.

[mylonelydreaming]

For me, Link being "unhealthily obsessed with Zelda and finding her to the point Ganondorf is a footnote" isn't something that I think is "bad" at all, but precisely what makes this version of him remotely interesting (to me) when Nintendo is otherwise so adamant about keeping him a stoic knight most of the time.

It adds a different layer to him, turns him from this perfect, bland stoic boy into someone who only outwardly appears that way, appears like he has everything together, but is in fact flawed inside and a little broken from what has happened to him. A little off. That makes him much more interesting to me. It gives him a major character flaw that can be exploited by his enemies, and what do you know, Ganondorf and the Yiga Clan do exactly that (they even remark on what good bait she makes).

I also find it interesting to think about when he became this way. Was it the years he spent with her in-between games? Was it well before that, when he was aimlessly chasing that "beautiful voice" even before he remembered who he was? Was it some point before the Calamity? Did he become a knight in the first place not merely to follow his father's footsteps, but to one day protect her? I find this compelling to think about. Is making a specific person your life's purpose unhealthy in real life? Yes. It's also very interesting in a story.

And also on that note, isn't him becoming at least a little too obsessed with her a completely natural thing to happen?

For me, if you take away Link's (yes, I'll admit, unhealthy although I kind of like that), obsession with Zelda, then all that is left is the exact ways that people who hate not only zelink but Link himself describe him as all the time: A robot who feels nothing but duty.

And sorry, but I just find that very boring. Dull. Unexciting. I also, then, can't see why on earth Zelda would have feelings for Link if she's just a duty to him and her acts of affection, like sewing him a new tunic, are never returned. Frankly, I think she deserves a lot better than that, to have her feelings reciprocated and a happy ending after all that she's been through.

And to be honest, why would any writer make her feelings unreciprocated when she's basically the main focus of these two games? How does that make any sense? I also doubt any professional game dev working on a deadline would waste precious time writing and coding dialogue about it into the games if it supposedly wasn't meant to mean anything? I honestly rather dislike people brushing off things like Kass's song, because it ignores that it was purposefully written by the game's creators to tell the player something. It not only feels disrespectful to whoever wrote it, but ignores an extremely common convention of video games. I don't think it's really very fair to call it "bad writing" simply because it delivers the information like a video game and not like other visual mediums would have. Video games have always demanded the player to read things, investigate and read between the lines. Especially so when they are more focused on gameplay, which is exactly where Nintendo's focus lies.

And when it comes to "it should have been more obviously shown", well, look how people complain even when it's subtle? If you're someone who hates it, why complain about the romance not being overly blatant? Isn't that good? I mean, clearly an even bigger fit about it would have been thrown if they had been even more obvious, so personally, I think that the way Nintendo went about it was perfectly fine.

[on-a-lucky-tide]

Curious what you'd say about Soap for the character ask game. You haven't really spoken about him as much as the others so I'm curious :O (id love to hear about every single character tho i wont lie to you but i have a feeling you'll get asked about those lol)

@nekrosmos asked for Soap too.

Honestly? There is unfortunately a reason. I lingered around fandom for a good few months before I got involved at all. I saw some behaviour from his fanbase that I didn't like and so I made the conscious choice that he's not a character I'd probably be creating much for. I love the art, happy to support creators, etc. Besides, there are so many delicious, delicious rarepairs to love and create for and plenty of gallant, productive, devoted Ghoapers.

He's quite compelling though, and I've got quite a few thoughts and headcanons, and I'm happy to write prompts with him. A few friends on Discord really love him and I like to create for them too, cause happy friends give me the fuzzies. So, you know, a story idea might grip me by the balls and I'll wack out a long form thing.

favorite thing about them

His journals.

Reading those finally gave me a connection with his character that I hadn't developed previously. But they really show how driven he is, how much he wants to be the best he can be, so he's not a burden, so he doesn't let anyone down. He's constantly striving to earn his place to the point that it kills him in the end.

I think he genuinely struggles with wanting to be liked (as part of 'earning his place'), and I think he is often too much for people. Ghost giving back as good as he gets is a comfortable relationship because the line for Ghost is way, way in the distance; Johnny doesn't have to worry like he does with 'normal' people. Neither of them is fuckin' normal.

Price giving him a chance would have been the first step towards the hero-style worship he has for him. "What? Me? Ye want... me? Aye, aye I will be the best fuckin' dog ye ever had, I will bite my own leg off for ye." Everything Soap does is to prove that Price didn't make a mistake. That he was a good investment. And Price, the sly fucker, knows it. He sees himself there.

least favorite thing about them

I wish they had given him a stronger accent and leaned more into that in the games. In fact, I wish that for all of them.

I also think that Soap has capacity to cause great harm without even realising it. Like, we get glimpses of it; he's nearly court-martialled for punching out a copper. In his single-minded pursuit of something, I reckon there could be a lot of collateral damage.

He lacks confidence but will cover it up by being an arsehole and doing arsehole things (such as smuggling a girl on base to impress The Guys). I say I like "least favourite"; I think this makes him compelling as a character. He's not all sunshine and rainbows. He's just as gritty, professional and flawed as the rest of 'em.

favorite line

"You sick bastard..."

"My kingdom for a suppressor..."

"Price?... This belongs to you, sir."

brOTP

Gaz & Soap

OTP

Uh... none really. Ghost/Soap?

nOTP

Don't have any strong feelings on any.

random headcanon

He's really bad at team sport. He showed no interest in any when he was growing up. Gym? Running? Swimming? Anything where the only competition is himself and his own limits? That's where Soap's head is.

unpopular opinion

Honestly? I don't know which of my opinions would be unpopular. Probably the 'not sunshine and rainbows' one, maybe?

song i associate with them

favorite picture of them