#i do not know what compelled me to write this

[ayebibs]

What would have made the Veilguard companions more compelling?

I keep racking my brain trying to determine how the marketing of this game was so focused on the companions, their rich lives outside of the narrative, and the journeys that they go on when I think that they are objectively the worst written companions to date. Not to say that their appearances aren’t well designed or that they don’t have really fun and cute moments, but they are simply less three-dimensional than previous companions. Fundamentally, my biggest grievance with the Veilguard companions is that I just don’t find any of them nuanced or interesting. They are all good people, but they are not good or believable characters that fit this plot and interact with it in meaningful ways.

I have never been one of those people that ignore canon, but I have been perseverating on the missed potential of this highly anticipated game that we’ve waited ten years for. So, I wanted to criticize some of these characters and explore some changes that might’ve made for a more compelling group of characters had they been written differently, but (hopefully) respecting the vision of who the characters are at their core because I do think that the skeleton of something great is here.

Disclaimer because this is long and critical: There are a lot of spoilers below. I haven’t read all of the Dragon Age books and I could be missing things, but I also think that the game and the characters’ journeys should speak for themselves as we go through the story. I also get that these are just my opinions, I’m a STEM girlie by trade and a creative on the side! Not everything I suggest may be great or realistic for building a plot or realistic for writing the script of a videogame. I also don’t mind conversations about these characters! I think that would be fun, I just don’t want to be shat on for being very disappointed in this game when it’s been my favorite video game series for half my life and I went in very hyped and willing to excuse a lot!

Alright, if you’re still with me, buckle up!

First, before I outline the specific changes I would make to each character, I want to address that there are just flaws with the way BioWare decided to handle companions as a whole in this game. I want to mention them now because they impact nearly every character and I don’t become repetitive:

1. Most importantly, the approval system is pointless and probably could be left out of this game for all it means to the narrative. It is nearly impossible to wrack up disapproval for the companions and you increase approval and bond by just taking companions out and completing a quest. If the companions like nearly everything that Rook does, then it means that they don’t care enough about anything to have strong rigid opinions (which is good for a well-written character). If companions don’t have an opportunity for meaningful agreements or disagreements, it means that the writing is not what people expect of a Dragon Age game based on every single installment we’ve had so far. It is one of the few things that have stayed the same in all of the past games and one of the things that I think fans are really upset about and should have been nonnegotiable.

2. All of the factions (except for maybe the Grey Wardens) really just needed to be messier and more complicated. Not all of the factions were meant to be heroic throughout the series. As others have commented, the Lords of Fortune and the Antivan Crows are the most glaring examples of this. However, I think that the Mournwatch and Veiljumpers are not exempt from this either. The factions serve as crucial parts of our companion’s backstory and by sanitizing them, we are wiping key opportunities for character development. For example, it could be way more interesting to have a character who fundamentally disagrees with their faction, but doesn’t know how to escape it. Or, what about a character who loves their faction and makes us feel conflicted about them because of their willingness to explain away the faction’s history? I could write (another) essay on this, so I’ll leave this point here.

3. We simply needed to have more conversations with all of the companions. All we have are these short, uninteresting cutscenes to learn about the companions. The player should be able to go up to the companions and ask them about the history of their faction, who they trust and care about in their faction (and why), their past, and their opinions about new information (on other companions, side quests, and plot points). None of these even need a cutscene, just voice acting. It would also help players feel more connected to the companions.

4. There needed to be more visible personal and interpersonal conflict. The companions read like coworkers to me. They mostly like each other and, even if they do have disagreements, they are never explored in the narrative. They don’t seem to have any hugely conflicting viewpoints on any topic and, even if they do, they are benign. For example, what to pack for a camping trip or not wanting to talk about a particular topic (dragons vs. spirits) can be interesting in addition to more complex banter but the banter just feels inappropriate and irrelevant for the plot of this game. Overall, the companions rarely make a fit about anything. It feels like the writers didn’t want any character to appear problematic, but they made them flat because none of them seem to have a hill to die on except that they should save the world. This might have been fine in a game series that didn’t focus so heavily on companions and the way that ethics are shaped by personal experience, but this is not that imaginary game series.

5. The companion quests should have focused more on worldbuilding and getting to know the characters. I have little to say about this other than that the quests for Harding to try out her powers, training Assan with Davrin, shopping with Lucanis, and lighting candles with Emmrich, etc. were lazy, uncreative filler. I really cannot put it any other way. They should have all had quests that better explored their faction and, by extension, them. We barely learn anything in those quests and they are time wasters. Those are the scenes that should have been converted to a codex entry, not some of the important lore drops that we currently have in the codex.

6. Rook chooses one option of a binary for every companion towards the end of their personal quests. I’m okay with some of these, I think that it made sense for Bellara and Davrin to ask Rook what to do in their personal quests because it felt more natural. A friend asking a friend for their input. On the other hand, some of these are really inconsequential, semantic, and mindset related (Neve) and others are such personal choices that it feels inappropriate for Rook to be involved (Emmrich and Lucanis). In a lot of these cases, it would have made more sense to have dialogue options sprinkled throughout the game that influenced companions to make their ultimate choices. Giving Rook so much power in these decisions makes the companions feel one-dimensional because it strips them of agency that any believable character would want. Even if they wanted Rook to make these decisions, companions should have felt more strongly towards the options and either praised or disparaged Rook for their decision.

7. Finally, I found all of the romances very lackluster. I was never someone who considered Dragon Age games glorified dating sims (I actually really don’t like that take, even if it's all jokes), but I found myself missing the depth of relationships in previous games. All the relationships felt too new and shallow. Largely, I think this is due to points 3 and 4, but also due to a lack of reactivity with your companions. For example, companions barely acknowledge you getting them a gift or flirting. This could have also been helped by a few extra cutscenes with the companions.

That mostly covers the overarching issues that apply to all characters. Some of these things might come back in my individual discussions of the characters if it is particularly bad.

If you’re still with me, here are my thoughts on each companion and/or what I think would have made them more interesting:

Bellara

I came to like Bellara much more than I anticipated from the trailers and marketing. However, she is really emblematic of how the writers didn’t want problematic characters. There is nothing in the game that would cause people to accuse her of being problematic, but despite being an elf (a historically oppressed and enslaved group), she is so quick to apologize for the actions of ancient elves who oppressed her ancestors thousands of years ago which is ridiculous and solves nothing. It also really seems like the writers wanted her flaw or quirkiness to be some kind of neurodivergence and nerdiness and that alone doesn’t make a compelling character. I actually think it would be interesting if Bellara was, if not pro-Solas, pro-hearing him out because his intentions were in the interest of the elven people even though he made some shitty decisions. I think she would want to be interested in what Solas knew about the ancient elves and what their society looked like before the Veil. I think she’d want to know as much as she could about the technology. I think it would be interesting if she guiltily admitted to wondering what the world would look like if the Veil came down. How different would it really be to what they’re already experiencing? Could they not mitigate the problems? I think this would be an excellent point of tension between Bellara and Davrin (who is Dalish but might not understand her curiosity in the face of the blight) or Harding (whose people were so impacted by Solas and Mythal’s actions… more on Harding later).

Davrin

Davrin is actually my favorite companions in this game, but I still wanted more from him. I think it would be really interesting if, when the team is gathered around after Weisshaupt that Davrin really pushed back against the idea of sorting out their personal shit before progressing. He’s a grey warden who, in his estimation, just failed his one purpose. I think that this would cause a bit of tension between him and some other characters, like maybe Taash whose concerns are more personal than anyone else's at the time. He is serious and straightforward, so I don’t think it’d be out of character and it would make their friendship and training montage more satisfying later on if they had to move on from it. I would also expand on the fact that he was disappointed to not die when he killed one of the archdemons? It was touched on so briefly and he seems to emotionally resolve it in a few dialogue lines which I think is crazy, even considering that he wants to live to save the griffons and raise Assan. A “blow up” about how the team needs to put their personal affairs aside while struggling to keep his own personal affairs together would introduce a little more depth to his plot line and expand on one of the more interesting things about him that we barely got any time with.

Harding

Harding was one of the most boring characters to me in this game because she felt so flat and there were so many ways to make her more interesting. Her character isn’t helped by the Varric twist because the narrative requires that she doesn’t grieve except for one scene despite knowing Varric for at least a decade. Personally, I think that changing her reaction if/when she finds out what Solas and Mythal did to the Titans and her people would make her more well-rounded and believable. From that point on, Harding should be anti-Solas and you should lose approval with her every time you entertain the idea of trusting him. Maybe she could even express disappointment/frustration/sadness for an Inquisitor who believes Solas can be saved or speak of them more highly if they think that he is irredeemable. Also, we should’ve spent more time with her and the dwarven people. I think Veilguard was such a rushed and half-baked attempt at wrapping up that storyline. We learned so much about the dwarves in the last two games and we get to spend so little time with them.

Taash

Interestingly, I think Taash is one of the few companions with really obvious flaws. They are childish and impatient, but they’re poorly written and their flaws are never acknowledged or treated as flaws by the narrative. In my playthrough, their relationship with Harding might have been an interesting place to explore and address that childishness. It was also a missed opportunity for them to explore Qunari and Rivaini culture. As other people have commented, the binary choice between being Rivaini or Qunari is odd in tandem with Taash’s journey of self-discovery and identity. I think that choice shouldn’t exist and should be encouraged by dialogue options peppered throughout their larger quest. We were so close to exploring the rift that can form in families between first generation children and immigrant parents (and learning more about Rivain and the Qun by extension) when there is love but a fundamental difference in culture and lived experience. Instead, I feel like the narrative never gave us a chance to really hear Shathann out before her death, but I’ll give the writers a break because I think that they were going for tragedy and unresolved conflict and I don't know if I trust them to make that a conversation that fits the world and isn't anachronistic.

Emmrich

The thing that bothered me most about the Emmrich storyline was the final choice between Emmrich becoming a lich and bringing back Manfred. This is another choice that Rook should have influenced rather than choose outright. The number of times that you asked probing questions or commented on Emmrich’s desire to become a lich through more conversations about Emmrich’s fear of death and relationship with Manfred should have determined his final decision. Personally, it felt inappropriate for Rook to make that decision directly for him, no matter how much the game tried to justify it. I would have also liked to see his fear of death impact him more throughout his quest line and the narrative. The final quests are literally a suicide mission and he should have had more dialogue regarding it.

Neve

I’m going to admit that Neve was hardened in my playthrough and I haven’t explored her character in playthroughs where you save Dock Town, so this section might not be applicable to half of you. I didn’t understand a lot of Neve’s motivation behind her actions. I didn’t understand why she felt so passionately about her city or her jobs. Her drive felt hollow to me, making her personal quests feel generic. When I got to Neve’s quest where we gathered clues near the water in Dock Town, I was excited to finally learn anything about her, but it was devoid of any meaningful backstory. I would have written the quest to better explore Neve’s past, motivations, and personal relationships. The other big thing that stands out is that Neve is a noir detective and the VA has clearly gotten direction to sound like one, but her story is so devoid of mystery, intrigue, and many of themes that would make that more than aesthetic. And, like, isn’t her whole faction about freeing slaves? Why not make her personal quest more closely tied to that?

Lucanis

Lucanis’ personal quests are so tied to the dynamics of his faction, so I think a lot could have been solved by making the Crows more morally grey. I think Teia and Viago could have stayed the same, but we should have seen more negative interactions between him and the rest of the Crows. Outside of Illario, Catarina would have been an exceptional vessel to explore the problems within the Crows and a theme like generational trauma or exploitation. The party banter between him and Davrin criticizing each other's factions could have been an excellent space to talk about the negative aspects of the Crows and how Lucanis’ feels about them, either defend some misdeeds or express how he feels conflicted about his past contracts. In my game (when you save Treviso), Spite also felt more like a mildly important accessory in Lucanis’ plot than a significant problem. Few characters had anything significant to say about Spite and he caused few problems. I actually thought Spite was fun for most of the game, but he needed to be more problematic because he gave the impression that he was included more to build an aesthetic for Lucanis than a character-defining plot point. Finally, I think Rook deciding what to do with Illario was a poor decision. I would have written this as a decision Lucanis makes on his own based on how Rook encourages him to deal with Spite through a more fleshed out character arc.

This pretty much summarizes my thoughts on all of the companions. As you can tell, I am very Normal about this game.

I wanted to like these characters so much and they have an unbelievable amount of potential. They are all so fascinating in concept and all of them are poorly executed either due to the relationship building mechanics of the game, because of the writing and dialogue, or a mixture of both. That said, there are brief moments when I like them and I get glimpses of what they could’ve been.

I just hope the characters are better explored in future games (if we get one).

[elyksina]

I wasn't going to write up on this but then I saw this post again and since this stupid elf has been my blorbo ever for over a decade I couldn't resist putting some counter thoughts in. For the record he is my favourite character ever and I love him so much and think he is a great character but it seems for completely opposite reasons than how you interpret him!

First off, yes he did hold the pass of Sirion for hundreds of years but that was during the long peace so not that much happening in there. Also looking at his politics in Nargothrond I think it's not far fetched to say he delegated any sort of battle & decision making to his possible captains and what not, since he definitely wasn't in there alone. And then he survived all the battles just like Galadriel did: by not taking part in any, and so survived as long as he did, until in the one battle we know he fought in he died immediately at the front.

I think he simply avoided any sort of danger and responsibility until the end which I think is iconic of him. Even in Nargothrond he allowed C&C to become more popular than him and only until there was a scandal he was forced to kick them out. He pushed his duties on Turin as soon as the opportunity came and then seemed quite happy with the situation.

All this just makes me think he wasn't trying to keep anything together, since he wasn't really trying to do anything at all except hang out and live his life. We see in the silm all the time how flawed elves can be and I think it just makes him all the more compelling. He's just a guy not interested in all this war nonsense, let those with the skill and brains for it deal with it.

Having Orodreth thoughts. Guy gets served such a shit dish by the narrative. Gets defeated, gets pushed over by Celegorm and Curufin, doesn't go to Nirnaeth, gets pushed over by Turin, then dies. But what about the fact that he held the pass of Sirion for hundreds of years, and it was only after a second assault that it fell after the Bragollach? What about the fact he survived all those battles in which his family died? What about the fact he was one of the last of Indis' line to die in Beleriand, and all the grief he carried watching everyone else die (or, you know, betray him)? What about the fact he welcomed Túrin even after everything? So what, he's a coward for having hope? A coward to trust again after being betrayed? He's just a guy trying so hard to keep it all together against a background of relentless tragedy and I think that's a great character.

[acid-ixx]

If you don’t mind me asking, what does your planning process look like for your chapters and what do you write first?? I’m trying to write my own Ybatfam fic rn but I just don’t know what to add to my chapters and really just how to start them.

I love your work, your really the one who inspired me to try writing my own🩵🩵🩵

hii anon !! i'm glad u asked this, though i am no way an expert in writing, i've been doing so for years now and i've learned quite a lot from it. thanks for asking this and i hope this is comprehensive enough 😭

so when it comes to planning for a chapter, or just a one-shot, i always write out what i want to establish within it. ask yourself; what does the chapter center around? would it be the relationships with characters, or the emotions you want to portray, is it angsty or just hurt/comfort? in planning, i write the general gist of what will happen through the entire thing (read: planned fanfics) before i move on to outlining.

and here, outlining helps like a god. i like to separate a chapter into multiple parts, and combine them altogether in the end. so when it comes to outlines, i just write out what i want to write and not the actual dialogue or actions in it (example: in this scene, jason tries to talk it out with you, you fight back and force him to let you out. in the next part, you're of the apartment and near to breaking down, you don't notice two sets of eyes watching over you).

sometimes, if i'm ever stuck i just write in the middle or the end because it helps me establish a flow and the build up.

also, setting the settings, changing the atmospheres, adding parallelism, and using figures of speech (simile, metaphors, personifications, etc. (e.g. conner knows you're perfect, with just how the flowers at the manor sings for your presence or how the beams of sunlight always directs itself at you)) are really helpful for when my writing feels dry or doesn't feel as compelling. it's not always required but it helps adding flowery (but not-so much) words or relating characters into objects with symbolisms to give readers an even deeper insight of who the characters is and why they are like that.

writing for the actual chapter, even starting it is always going to be the hard part. it's like starting an essay, but i suggest treating it like an essay— what do you want to focus on? always remember that the start of a chapter helps set up the mood and pacing of the story, so whether it'd be action packed or something lighthearted, reflect it upon the flow of your words too.

start with an interesting hook, whether it'd be rhetorical questions or digging deep into a character's personality and diving into specifics about it, have key points and expound upon it; and always take note of the atmosphere of how your entire story should be, show it through actions, reactions, gestures and dialogues.

otherwise, i've not much to say but take your time and don't pressure yourself with trying to achieve perfection. i'm pretty much someone who likes to write out my ideas before the actual planning so most of the time i wing most of what i want to write (loving family, unpalatable desire is a product of it) and hope to god that whatever outcome will be decent.

and thank you so much anon for finding me as an inspiration 🥹 it's unbelievable, the amount of support i mean— and if you ever do wish to post your own fic and feel doubtful of it still, you can always also chat me through my chatbox here in tumblr since it's pretty much open for anyone.

[sparrow-and-seed-scrawls]

Finding Real Life in Characters

something I’ve found compelling is the beauty of life in characters.

I recently finished a story about a deeply hurt character, one who’d been betrayed and shattered, one who very well could have been written as a dark, unkind, and brooding man.

The author could have brushed past his trauma, as so many artists and writers do, watering down the sharp gravity of pain into nothing but a ‘sad backstory, but he’s attractive so it doesn’t matter much’ beat. It’s certainly worked for sales in the past.

That sounds a bit harsh, I suppose, but I’d forgotten how it felt to see such understanding kindness displayed in media. I specifically remember a line that (paraphrased) said, “I want to tell you ‘I’m sorry’ again, but this isn’t about me. You don’t need to be reassuring me right now. This is about taking care of you. You’re allowed to cry. There is so much strength in allowing yourself to feel those things.”

And I can’t stop thinking about it. Despite everything this character had gone through—from being taken advantage of to losing everything he knew—he loved people. He found broken pieces of his own grief in others and helped them find their way to continue, showing that it’s okay to cry, it’s not weak to ask for help and healing, it’s necessary to feel.

He said, “I don’t know what you’re going through. These [circumstances] are felt and perceived differently by everyone. But I have been to dark places before, too, and you’re not going to heal by shutting yourself off.”

So often we write, draw, imagine characters as better versions of people. They’re more good, more attractive, more angsty—they let us forget the bad parts of ourselves. But characters are also meant to show us how to live through our mistakes and/or pain.

Yes, he had a tragic backstory, and it affected his choices, his words, his personality. Of course it did, it’s realistic. But the ‘tragic backstory’ gave him character motivation and realism, not something to make him appear attractive or mysterious to other characters.

He respected others’ boundaries because his had been ignored. He was scared of change and opening up because it had cost him. He was gentle when others were in emotional pain because he knew how it could damage. And we saw this in the everyday, not just the plot points and angsty scenes.

There is something so true and real about seeing how life affects everyone differently. Seeing how it’s possible to change and possible to live past hurt.

He was an absolutely incredible character. I wish I could explain this better, maybe one day I’ll be able to, but life in writing—life with a past of pain, life that changes to keep that pain from happening again, life that heals and helps, despite what happened, is absolutely unforgettable.

Realness in characters is what makes art and story so addicting.

[crabsnpersimmons]

Miss, it's time to go to bed. Are you on your phone again? Sleeping late will ruin your lovely skin. This is the final warning. If you don't fall asleep now, We are going to dance. - "잘자요 아가씨" by ASMRZ

found this song and i was possessed to draw @starriegalaxy's butler Eclipse dancing to it

(also i apologize in advance for my horrendous hiragana, hangul, and cursive)

Textless, effectless version under the cut!

[greattemptation]

As someone whose OTP is drarry and who has also blocked the dramione tag and for whom most straight fic really doesn’t sit right, I remain compelled to let you know this tag is SENDING ME.

The implication that Hermione deserves better but that Harry gets, idk, more or less what he deserves with Draco is GOLD to me. Do you hear me? I want to write 70 fics about this.

Finally blocked the dramione tag on tumblr

[thornswoggled]

i think there is a convo to be had about how chises dragon curse - for all of its confusing mechanics - functions less as a plot point and more of a physical manifestation of the character growth chise has yet to undertake, and an unwillingness to reckon with the person she is past the roles she serves in the lives of others

chise takes this curse on when she returns to the auction house, and location is everything here. at its core, this curse is anger, hatred, fear, pain, and a deep desire to return to comfort - destructive emotions that rip apart all it touches. when chise breaks down at the sight of the frightened dragon for sale, elias tells her that those are not her emotions, that she shouldnt let them overtake her - but they are her emotions, that dragon is her, and there was never a possibility that she wouldnt follow it on its flight over london. seeing as things have "worked out" for her til now, chise hasnt yet reckoned with the gravity of what it meant to sell her life away. she hasnt reckoned with the hatred and anger and pain that she still harbors - unfortunately, moving to a quaint little english cottage does not undo a lifetime of neglect. her attempts to fix those around her, philomela being a prime example, will only get her so far. eventually she will have to look within, and i dont think shes done more than dip her toes in. "this is my past, these sad things happened to me, now things are better" is not the end of her self-reflection. now that we know the past she carries with her, what does all of that mean for her? what kind of person is she? who will she become?

im thinking too about this recurring theme of "atavism." its a key feature in tambs dragons, who are able to evolve at will to suit their needs, and yori also mentions it when noting chises appearance. atavism is the reoccurrence of dormant or ancestral traits, and you could make the argument that its also functioning metaphorically here. evolving to suit the world around you, past burdens and trauma reemerging when its unexpected or inconvenient... my thoughts on this are loose right now

theres this concept that we've been getting, too, that chises dragon curse is something temporary. arc 1 left us with the idea that her two curses must remain in balance, in perpetuity, for her to survive. but theres this new interpretation of it being something that serves her for now, but she might shed it once it fulfills its purpose

continuing with the idea of the dragon curse as a sort of... idk, ptsd metaphor, what are these two examples from ch 98 implying? that her negative emotions will serve her when it comes time? that this sort of baggage cant be exorcised away? framing the dragon curse as temporary broaches the possibility of chise one day being cured of it, but what does that mean? and should she be?

(of course, the 'future chise' we see in ch 1 doesnt have a visible left hand, but is that meant to be a literal glimpse into the future, anyway? theres also a dragon made of vines behind her in that panel, didya notice it?)

i mentioned the auction house at the beginning because i feel that if chise sheds the dragon curse, it will be in much the same way she attained it. chise has been told that she is free, she is loved, she has told her "mother" that shes moving on with her life. but all of this is just the beginning - and lets be real, i dont think elias is putting her into therapy. joseph is the only character i can think of who is truly, earnestly pushing chise toward the difficult self-reflection she needs. im excited to see what he says when she taps into her "cursed fury"

this is why im so excited that we are being told explicitly, time and again, that things are about to go really bad for chise. tamb is such a masterwork of character writing, it is so incredibly emotionally intelligent and gives so much grace and patience to its characters. i have no doubt that chises character arc is going to go in such a spectacular direction

[possamble]

What are your headcanons about Marcille's mom if you have any? It's interesting that what drew Donato to her was cause she lived the history he studied, or that was said somewhere at least. She must've had an interesting life.

so this was going to be just a normal answer but then I realized I have a Lot of Things To Say. so here goes, a compilation of what we know for a fact from the canon, what I've extrapolated from the visual cues and details, and my theories based on all of that.

Things we know for a fact about Marcille's mother because they were explicitly stated in the manga and supplemental materials:

She was a court mage for a Tall-man kingdom at the southern part of the Northern Continent

Donato, a court historian, fell in love with her because she had lived through the history he was studying, and he courted her for 17 years (age 15 to 32) before getting married

She was a cheerful person who rarely showed extreme emotion and took things as they came

She always cooked a huge meal for Marcille on her birthdays

She remarried a gnome after Donato's death and a short distance away from Marcille's childhood home

Pipi, Marcille's pet bird, was actually older than Marcille and originally belonged to her mother (bird died at 62)

She was extremely heartbroken when Donato died and ultimately ended up instilling a deep fear of mortality in Marcille with her words

the only time she showed extreme emotion in front of her family was when Donato could no longer eat his favourite dish near the end of his life.

She scolded Marcille for being cruel to ants (implying she can have a stern side when needed)

Things that are explicitly shown but mostly through visual cues

She has a very distinctive style of dress always involving a ribbon choker (mirroring Marcille's habit of always wearing a matching choker with any of her outfits that don't cover her neck)

She was almost stereotypically good at housekeeping and traditionally "wifely" things (very frequently depicted wearing an apron or doing some domestic chore when not at work, seems to have been an avid cook).

She knits? (also, note the affectionate smile as she's looking at Donato and Marcille reading a book together in the full panel)

She was as excited for Marcille's milestones as Donato was.

She didn't tell Marcille much about elven food

(there are a couple things that this panel in particular implies:

She lived a good deal of her life (if not being born and raised) in a mainly elven country in the West, implied by her knowing enough of an elven region's cuisine to prefer Tall-man food over it

seems to have a pretty carefree and casual demeanour overall, if this is how she replied to Marcille asking her about it (sounds like she never gave her culinary preferences that much thought to begin with)

slightly related to number 2, it seems like she and Marcille had a fairly casual parent-child dynamic (especially in comparison to the Toudens' memory of their father)

(local elf tastes Italian food once and never goes back))

However, she seems a lot more... serious in most of the other times we see her? Almost like the very stereotypical archetype of a graceful elf.

Subsequent conclusions about her personality:

Usually pretty carefree and cheerful at home, has been a loving and attentive parent throughout Marcille's childhood (while not being so doting that she didn't discipline Marcille).

Slightly more conjectural theories on her personality:

Had a much more graceful and professional personality at work, which would explain the more serious portraits we see of her.

Given that both she and Donato had positions at the royal court, it seems a little odd that she'd go out of her way to do all the housework herself, so maybe she just enjoyed doing it?

Now taping all the evidence together and toeing the line between analysis and fanfiction:

It's clear that she loved Donato very much and was utterly devastated by losing him. But there's one thing that really stuck out to me in what little we see of her:

Doesn't she seem... angry? The way she's gritting her teeth, clutching the tablecloth, and how this is the first and only time we see her eyes opened that wide. In the following panel, you see her being quiet and dejected after her initial outburst. She's still crying very intensely, but her brows are furrowed, and she's not really responding to Donato's affection in her body language.

We're not told the details of how she felt about losing Donato other than that it upset her. But this, to me, implies that she was angry and resented that he was aging, that the end of his life was approaching. An "it's not fair" type of preemptive grief. And if this was the first and last time she cried like this in front of her family, she was either very good at coping in private... or very bad at letting herself feel unpleasant emotions until they become unavoidable and end up overwhelming her.

It's not too remarkable a detail on the surface. It's even reminiscent of what the audience has seen of Marcille. But... when it comes to the big picture, you'd think an elf who voluntarily chose to marry a tall-man and have a half-elf child would have been better prepared for this.

It kind of recontextualizes her cheerfulness to me.

"I'm sure everything's gonna be okay!" (or some variation thereof, depending on what translation you have).

And this is stated to contrast her extreme grief when finally confronting Donato's failing body and eventual death. But I'm wondering if... maybe this optimism was why she was so upset. What if she went into all of it thinking "everything's gonna be okay"? What if she was a little young by elven standards, and just followed her heart thinking that her own resilience would get her through anything?

Of course, only to get completely overwhelmed when she actually loses Donato. She turns into a completely different person. And that's heartbreaking on its own-- but what the audience sees is the effect it had on Marcille. Can you imagine being her, watching your invincible and upbeat mother suddenly lose all the light in her eyes in one go?

I've already made a huge post about how I think Marcille models her "work persona" off her mother, but another thing that stuck with me as I was looking for more details in the manga was this:

copy pasting from the other post i made about it lmao it's like... the second she resigns herself to lifelong pain and terror, there's another portrait of her mother facing her like this. with their heads bowed, in mirrored body language of resignation and despair and sorrow. Except it's posed like Marcille is still looking at her mother but her mother is looking away.

It took me a second to realize, but I think that it's a visual metaphor for the fact that Marcille's mother was the only long-lived role model she had-- and she failed to model healthy grief for her daughter. I don't say this as an accusation or to disparage her as a character, but just as a matter of fact. In her, Marcille was seeing herself older and losing a short-lived spouse or loved one of her own, and all she saw was hopelessness.

But her mother didn't mean to instill hopelessness and terror in her. She wasn't really thinking of how it would truly affect Marcille at all (at least, that's how I'm interpreting her looking down and away from Marcille in the metaphor), she was just sad. And she, in her own way, was trying to protect her daughter and help her prepare for future losses.

What she meant was "loss is inevitable, and you have to learn how to be in pain but live on anyway." What Marcille heard was "loss is inevitable, and you will be scared and hurt for the rest of your life."

Again. Marcille's mother doesn't feature explicitly in the story the way her father does -- but in so many ways, her shadow, her silhouette, her reflection is always hanging over Marcille.

All that to say... headcanon-wise (everything from here on is 100% without evidence lmao), I'd like to think that she matured and realized that she failed Marcille. I imagine her being regretful about it, wanting a chance to fix it but never finding a way to insert herself back into Marcille's life when Marcille is so so so busy becoming the most accomplished mage possible. I imagine her being herself again, now, so many years after her loss and after remarrying -- but with her cheerfulness tempered with a lot more wisdom and the pain of having gone through loss like that. I think the second Marcille actually tells her what happened in the dungeon, she'd want to go running to her daughter again -- if Marcille tells her the full truth instead of just being embarrassed she let things get that far. (oh, the tragedy of her wanting to be more like her mother and an accomplished adult who doesn't need to be babied... being embarrassed to actually tell her mother how much she fucked up...)

There's also the tension of her having remarried -- I know that there's at least a little bit of resentment that Marcille harbours about that, because she's childish like that at heart even if she makes an effort not to externalize it. I think that her mother would be aware of that, potentially adding to her sense of guilt and apprehension at trying to reappear/intrude on Marcille's life. I honestly don't think Marcille has met her stepfather -- or even considers him a stepfather rather than "mama's new husband" and kind of a total stranger. I think she and her mother actively don't talk about it in their correspondence, like an elephant in the room.

but, ultimately, I think her mother is on her side no matter what. Ancient magic? Dark necromancy? Sure, she'll feel guilty and like she was partially responsible for setting Marcille down such a painful path, but she wouldn't care. that's her daughter!! she would've moved back west and been petitioning for her at the court, buying a house right next to the Canaries barracks and visiting her every day that she wasn't on a mission. And if her husband had opinions on Marcille becoming a "dark arts user," he either gets over it or it's divorce with him. Yes, she might have had her optimism completely humbled by losing Donato like that -- but she's still headstrong and self-assured and she doesn't care what people think of her. It's her way or the highway and she's always going to be in Marcille's corner.

(She also needs a name lol. I went with Juno, just to be cute about "Marcille"s closest real life equivalent being Marcella, which is the female version of Marcellus, which in turn is a diminutive of Marcus, which was derived from Mars. Absolutely in love with Marcille potentially being named after Ares/Mars the fucking god of war btw)

[caeslxys]

here's the thing. laudna would have stopped it. if she knew delilah was about to fracture the gnarlrock. if she could parse her own feelings from hers.

and here's the thing. imogen has been plagued by nightmares for a decade. and this rock is the first bit of solace outside of her trust in laudna that she has ever had.

and laudna was just involved in shattering it. this tiny bit of solace.

and. here's the thing: laudna would've stopped it.

and. here's the thing. imogen would've stopped it. the only reason imogen didn't go is because she was specifically afraid that she would attempt to intervene and ruin their relationship with the volition before it ever began.

and here's the thing. liliana set out 25+ years ago specifically to spare her daughter. and that seemingly has not ever wavered as her core motivation. but people keep being drawn to the moon. kids keep being drawn towards the moon. and liliana is a mother. she was a mother before she ever knew she was an exaltant.

for 25+ years she has worked to "cure" imogen. the only solace she probably ever received was in at least attempting to console the kids who found themselves lured in by her same pull.

liliana begs imogen not say that they may have to kill each other. she breaks at hearing imogen's resolve. but there's kids, imogen. there's kids here. imogen. she can't leave. she's a mom.

and, here's the thing: imogen's her daughter. the daughter liliana left. or tried to leave. the daughter she only had through dreams. and imogen is working with the volition. and imogen has been her sole drive for 25+ years.

and imogen might have just been involved in shattering the little solace she might have ever had.

and, here's the thing: imogen would've stopped them.

[fumifooms]

I think you made me start shipping Marchil

Your posts got me thinking about their dynamic then I wrote a fic that was supposed to be platonic but midway through I realized it could actually be interpreted as romantic too and now I'm just sad about how little time they'll have together

First of all, you have a lovely icon, second, I’m so honored… I finally read Not a bad way to go and it was soo so good like. My god!!! Pre-canon is underused and you did so many interesting things with it.

It sounded like a cruel joke, that the one who needed her concern the most was also the one least interested in it.

^^^ go read it go read it

Chilchuck was drunk enough that he needed to hold onto the walls not to fall, but apparently still sober enough to remember emotional vulnerability was his worst enemy, as he made sure to avert her eyes and said: “Namari made me come talk to you ” to make it clear he wasn't being nice voluntarily.

Yeah.

“Of course I'm scared of dying.” He scoffed. Did she really think so little of him? “But if I could choose, I would want to die doing something I love, like drinking. Or maybe fucking,”

Maybe you wish you didn’t know but my new favorite HC because of this is that Chil dies yes prematurely not of liver failure though but during coitus. Especially if marchil, the thought of him busting a nut and his heart giving out makes me laugh so hard. My god. Lmao. Oh god. Lmfao. Worst day of her life

Marcille knew Chilchuck wasn't a kid, but she often struggled to take him seriously as an adult because he was just so adorable and small. In this moment, however, she saw them exactly for what they were, even if it was just a glimpse. A sheltered, naive little girl trying to tell a tired, much more experienced man how to live the rest of his life.

Standing ovation

She tried to find an explanation to give him, but she couldn't even find one for herself. Why would she miss him? He was just Chilchuck, her coworker, Chilchuck who was cold, aloof, sometimes crass, evasive, and even outright mean. He who was level headed, reliable, trustworthy, perceptive and clever. He who had the least time left, even in a best case scenario. “I guess that despite your best efforts, there's still a lot to like about you.”

This fic goes so hard, standing ovation pt 2

“I just think it's better if we don't get too close. Don't you agree?” “I… maybe” she said, uncertain as he didn't know how to feel about that. Caring about people would only hurt her in the wrong run, she knew that, but unfortunately she couldn't help it.

I looove how they can be read to be similar on this aspect. My hand clenching around my phone as I rear up to rant about Marcille and the way she does keep people at an arm’s length subconsciously again my god my goood. Obsessed with this obsessed with this, underused for marchil. Terrified of loss through death vs rejection duo I love youuu

Brilliant ending I’m in shambles. I’m not gonna spoil it

You get marchil so much you truly do. The way they mesh, the way their views on mortality clash and both soothe & bruise… He doesn’t have much time left even in best case scenario (which Mr I won’t eat well I’ll drink and smoke a lot I’ll stress all day every day is determined to not make happen) which makes it all the more meaningful for Marcille’s arc when she learns from him to finally enjoy the present moments… It’ll only be a fraction of her life, but to him he’s giving her the rest of his life. What are some decades of love worth? Worth it, surely, if nothing else

[ageofzero]

Yuna is the antagonist of a potential Final Fantasy X-3, thank you for coming to my TED Talk

edit: okay I'll put it under a read more since it'll be a long post (but not as long as my entire conversation was), but what's promised is due.

Now that I have to make the post for real I had to do some wiki reading on what the actual Things going on in the novella were, and… well, a lot of my theorycrafting was based on incomplete and kinda inaccurate information. BUT I can’t read Japanese, the book was never released here, and I am going to go with rule of cool for a little bit of this even as I keep the stuff that sounds kinda dumb on the surface. I’ll be the first to say that Tidus exploding from a bomb he thinks is a blitzball is dumb (true), and Chuami thinking she’s Auron’s daughter is a dumb plot beat (petty), but I’m weaving this bridge and I’m not going to rewrite those. I am going to change some contexts and make them exist in a narrative that I hope is compelling. That’s my disclaimer, now I’m gonna get into it.

SO.

The scenario from the novella and audio drama is thus: Tidus died again in an accident, and Yuna brings him back. But he’s not back in the same way that the Fayth gave this dream a real living body at the end of X-2. The official term for it is “beckoned”, but I probably won’t use that to describe him based on my previous understanding. No matter if he’s beckoned or not, or whatever terminology you want to use, the thing is that Yuna summoned him back. She’s holding him to life, and he can never know. It’s been a year since the moment Tidus died, and Yuna has seemingly regressed into patterns that put her into what was once Yevon’s circle. Tidus is looking injured/weakened (“Chuami: It wasn’t just [Tidus’s] words that felt hollow. When I shook his hand, his grip felt weak and lifeless... I think he’s injured. Or maybe he’s sick or something.”), and people are looking to Yuna for help or information regarding the strange not-quite Unsent (the beckoned) that are appearing in places in Spira. Help she is not capable of giving. Wakka and Lulu are protecting her as she prays in Besaid Temple. The world is seemingly acting out, with a second shoopuf appearing in the Moonflow and its energies overflowing and drawing more illusions into reality. (“Yuna: The Moonflow energy is responding to the will of the living. It’s as if… we’re in the Farplane.”) And it’s more vivid than what the Farplane is capable of, even breaking the rules of “beckoning”. This is something new, something worse. Something worse enough to bring back Sin (which I thought was just me extrapolating a potential, but they actually mention it in the audio drama that it happens). Yuna promises the people that she will defeat Sin, but Wakka tries to keep her from being made to promise such a thing at first, which is an interesting choice (“Wakka: Yuna, let’s go back to Besaid. They’ll push this all on you… Sin is for summoners, in their minds.”).

Where does the world go in this present circumstances? Why IS Yuna seemingly content to do what chafed her in the Eternal Calm short movie and stay praying in Besaid and helping the elders who are lost now that Yevon as they knew it is in shambles? Why are Lulu and Wakka enabling and protecting her in that? Why is Tidus looking injured and weak and why is Yuna keeping him at arm’s length? Why does she tell him that she’s fallen in love with someone else?

I know the typical story beat interpretation is “Yuna told him that and pushed him away so he wouldn’t be in danger for what she needs to do, bc defeating Sin caused his death last time”. But hear me out. Yuna knows Tidus isn’t alive. She knows that revealing that information to him will cause him to disappear again. She’s actively summoning him back to life and he has no idea (but he must suspect something is wrong, even before Yuna formally pulls away from him, he’s weakening and he probably doesn’t feel right in his own skin). I posit that her maintaining Tidus’s life is what she’s really doing praying in the Besaid Temple. She doesn’t want to get involved with the Moonflow situation, the shoopuf or the overflowing energy of the Moonflow itself. She doesn’t even really act when seeing all the ghosts in the crowd, and actively stops Kurgum from acting (plausible deniability: she and everyone else decide that sending them in that moment would be the wrong call and riots would break out, but that density of ghosts means that’s a significant amount of pyreflies that could become fiends at any moment).

I posit that Yuna’s powers are working, that people close to her think her powers aren’t working (Lulu and Wakka), and she’s hiding it from everyone else. That her powers aren’t working because she’s currently using them to maintain Tidus’s existence. And this maintaining is breaking the Farplane in half, because she’s powerful but has no idea what she’s doing. (Why would she really know what she’s doing or the consequences? Who has any information of what she’s doing and what will happen if she does it?) I posit that Yuna’s love for Tidus is so strong that it corrupts her sense of right and wrong. X-2 is Yuna largely going on a personal quest, and incidentally helping people but separating herself from the title of High Summoner and doing something she wants to do. Rikku encourages her to do something for herself for a change right before she agrees and runs off to become a sphere hunter. She still saves the world, this time from an ancient danger Old Yevon buried and an Unsent is threatening to use (for love, notably), but she did it in the course of looking for Tidus. Who the Fayth return to life, who she hugs and is so so relieved to have in her arms again.

She’s not going to let him go, she couldn’t let him die again so much that she called him back to life.

(side note: I never truly knew how this happened so I had to consult the wiki page on the novella, and I suspect what original information I was working with was misrepresented and misinterpreted. I openly admit that the wiki page doesn’t really help me fully understand what happened, aside from explaining how Tidus ended up in proximity to a bomb. My understanding from someone’s explanation was that an Unsent summoner on the island Yuna and Tidus got washed up on after a storm told her she could call back the dead if she wanted, as a summoner. They’re all made of pyreflies, Aeons and Fiends and People and Unsent alike, and summoners are in the business of manipulating pyreflies. Either calling them from the Fayth to form an Aeon, or Sending them to the Farplane so they do not become Fiends. A summoner with enough power could summon someone back from the dead, could they not? And this Unsent summoner knew how it worked, and told Yuna how to do it. But I don’t know how real that scene could be, or how accurate it is to what’s written in the book. It’s my rule of cool moment, though, and I worked with that as my understanding when I made this theory. We have to make our peace with that, if you’ll allow me this extrapolation of Spira’s rules and a summoner’s powers.)

(The meme is Tidus kicking a blitzball and it turned out it was a bomb and his head gets blown off, but wiki says they ended up on a vision of a Besaid from 1000 years ago, and the bomb was something neither Tidus or Yuna had seen before and to them it looked like a blitzball. So, Tidus approached what he thought was a blitzball, wondering who’s ball it was, and it exploded as he reached it. I still think that’s really dumb but I’m not editing it out bc Tidus’s death creates very interesting consequences.)

So, if Yuna is summoning Tidus back to life, and she desperately doesn’t want him to find this out so she avoids him and pushes him away through any means necessary, but he’s still weakening and fading enough to be noticeable by people… perhaps also himself… Yuna returning to Yevon in some capacity could just as likely be her looking for a means to keep feeding power to this summoning she’s doing so she doesn’t lose him. And what kind of consequences does it have to do this? He’s being summoned, but he’s not actually an Aeon. He’s not an Unsent, he’s not just being beckoned. He wasn’t even real, he was a dream in a summon held together by the raw power of Yu Yevon turning into Sin. The Moonflow overflowing and seeing a long-dead shoopuf is the least of the consequences. The Farplane is delicate, it requires careful maintenance, and here Yuna is shoving her foot in the door and holding it open for a solid year! And no one knows she’s doing this! Spira’s past is full of history, some of that long-buried secrets that no one was supposed to find again. Sin wasn’t supposed to be able to come back, but the ghosts aren’t staying ghosts anymore (“Lulu: I mean Sin came back, right? What’s to stop anything else from coming back?”).

Even people who only know her by reputation seem to think she’s acting strangely (“Kurgum: I thought Lady Yuna was… a righteous person.”), because something is wrong and no one can put their finger on what. Who would have the pieces to put any of this together, and who would even suspect Yuna in the first place? She’s actively not getting involved in politics, she’s locked herself in Besaid, she seems reluctant to answer someone she worked with and should be amicable with now (Baralai).

I think the story should follow down this path, I think it should find Yuna at the end of it, once savior and now destroyer. She’s willing to let the world rip apart in order to keep Tidus, and I think that’s a compelling premise for X-3. The past surging forward like ghosts, vengeful and lost and wanted and terrifying. Who sides with Yuna (Wakka, Lulu) and covers up the problem? Who bands together to face down the High Summoner (Tidus, Rikku)? Who doesn’t know where to place their allegiance, or who changes sides when they realize the extent of what Yuna’s hiding? What does she do when she’s faced with her friends, and the person she loves so much, telling her to stop?

There’s a line in Eternal Calm where Yaibal (named in X-2 but not in the movie itself), after asking about whether or not she’d be joining one of the factions, if she’d be making a faction of her own. And I think in this potential X-3, she’s making her own faction through the actions of becoming antagonist. She’s made Wakka cover for her, she acts in a way that make Lulu and Wakka both protect her regardless of whether or not they know what she’s doing. I think it would be so fascinating to make this a conscious decision on her part. Things have broken so utterly, and she’s desperate to hold them together, and becomes the antagonist in the process.

Squeenix would never do it, they’d never be so bold as to make Yuna the antagonist and follow through on this trajectory of her lying to people to hide that she’s the one breaking the world in half (up to returning the ghost of Sin itself to terrorize Spira). Sin isn’t the final boss in this one, it’d have to be Yuna, we have to stop her and fix what went wrong. It’s not ever gonna happen, but I still think Yuna should be the antagonist of X-3.

[aroaceleovaldez]

I think one of the problems with the HoO characterizations is Rick kind of forgot to give half the cast hobbies and general interests, and maybe like people they know outside of their families and outside of camp, or if he did remember to it rarely gets brought up for most of them, or in the special case of Annabeth - she randomly develops a hobby in weaving for exactly one scene and then never again. Apparently she just knew how to do that, even though it is a skill she has literally never used before nor uses again.

The best examples I can give of this are comparing/contrasting the examples of when we do actually get this with the lack-thereof: Hazel and Frank are good examples. Hazel has hobbies and interests generally unrelated to all her demigod stuff (horses and art) and we see this repeatedly discussed and brought up. She also knows and interacts with people outside of the necessities of her quest/Camp Jupiter or her family - Sammy was her best friend at school and they hung out and stuff! Meanwhile, Frank, as far as we know, doesn’t know anybody outside of his family even though he presumably went to school before Camp Jupiter? His hobby is... archery? That’s the only thing he ever really shows interest in but at the same time it only rarely gets brought up except for him using a bow as his main weapon and the like two instances of noting that Frank had hoped he was an Apollo kid for a little bit. The closest other detail we get to Frank having any other kind of hobby/interest is him mentioning off-hand that he used to play Mythomagic.

Piper and Leo - We can presume that Piper knew Shel before moving to Oklahoma, because Piper used to visit her grandpa often and as far as we know that’s also where Shel lives. But we never see Piper ever mention knowing anyone else in her grandfather’s community. Heck, when she’s introduced we’re basically outright told that she doesn’t interact much at all with any of her classmates outside of necessity, and we don’t even have any confirmation that before Hera’s mind-meddling that she even acknowledged Leo’s existence. Also, Piper has like, exactly zero hobbies. We do not know what Piper does in her free time or what she likes (except vaguely that she has surfed before), only really what she dislikes. Leo at least does have some kind of excuse for not really knowing anybody, and an explicit explanation about why that is the case and how he feels about it. Leo also has a repeatedly referenced interest/hobby in mechanics that’s very core to his character.

Percy and Annabeth? Pre-HoO, they both have plenty of interests and know people outside their general circles! Percy knows kids at school. Annabeth’s general outer social circle is Camp Half-Blood, because she grew up there, but she clearly knows people at camp. She’s also super into architecture! And Percy does a ton of stuff in his free time - he skateboards! He plays basketball! He has two pets he takes care of (Blackjack and Mrs. O’Leary)! Post-HoO he’s on a swim team! But during HoO? Percy’s hobbies just kind of disappear, besides “oh yeah he uh. Does water stuff.” There’s no acknowledgement of like, “Yeah Percy sets up a little basketball hoop on the back of his door on the Argo 2 and shoots trash at it.” Literally anything! And yeah, Annabeth’s architecture interest is somewhat acknowledged, but also like, not really? We at least get some kind of “Yeah, in her spare time she’s usually on her laptop working on stuff” but we also barely get any instances of Annabeth thinking about her friends at camp except for like, Tartarus.

For Jason it at least kind of works because a.) he has amnesia and it’s implied he doesn’t really have close friends at Camp Jupiter besides Reyna, so it figures he only ever really references random other legionaries like, twice. and b.) there is also the heavily implication that Jason doesn’t have hobbies, because his entire life was so focused around his training at Camp Jupiter. This works less with Reyna, but she also kind of has an excuse for not knowing people besides like, her sister and Jason, given she ran away when she was young, Circe’s island was destroyed, and she could have only been at Camp Jupiter for like 3 years maximum at that point. And she’s not exactly the most social character. We also don’t get much indication of her hobbies, besides she also likes horses and it’s heavily implied she likes nature/gardens? Presumably, given we get like, one note of that in HoO, maybe two if you count her living on Circe’s island, and then like one more nod to that in TOA. And we only get her POV chapters in BoO anyways so again, she has some excuses. Coach Hedge also is incredibly bland besides maybe him having a hobby in sports, and... violence? Which definitely does not count. And him lacking any POV chapters doesn’t really help.

I think this is why Nico continually feels like such a strong character, simply because we know what he does in his spare time. We know he knows people outside of the camps (most of those people are gods or ghosts, but he at least knows people) and technically you could argue him knowing about Camp Jupiter between BoTL and TLO counts too. He even references his old neighbor at one point. Obviously, he’s very into Mythomagic, and that comes up a lot because it’s his special interest and is usually also relevant to their quests. He travels a lot, and apparently used to when he was younger as well. We also learn he used to have a special interest about pirates and that apparently may have played into his crush on Percy. Like, all that is so simple and minor but it makes such a difference for how Nico feels as a character. Most of Nico’s stuff though is established in the first series, which definitely helps because the first series was pretty good about giving characters hobbies and maybe some people they know - Annabeth, Percy, and Nico we’ve already covered, but also like, Grover knows other satyrs and is usually practicing music and also we know what foods he likes. Thalia is very into punk culture and music. We know she particularly likes Green Day. We know she knew the Hunters of Artemis before the events of TTC. Rachel's whole thing is that she’s super into art and she has a bunch of connections through her rich family, and she’s basically Percy’s only mortal friend. They have lives!

If you put a protagonist in a room and told them to occupy themselves, you should have an answer for what they do. They should be able to name one person outside their immediate social circle who they are generally friendly with or vaguely know, unless they have a specific reason for that to not be the case. HoO crew needs to occupy their time by themselves, no weaponry, for twenty minutes? Hazel could be drawing, Nico could be organizing his cards, Leo could be tinkering, Annabeth could be working on her laptop, Percy could be trying out little skateboard tricks. Jason, Piper, Frank, and Reyna? What would they be doing?

TOA does actually answer that question for Jason, at least, because we learn that Jason makes tiny dioramas! That’s adorable! Why doesn’t he do that in HoO?! TOA also gives us more depth to Will Solace besides “He’s a medic and does medic things” with telling us that he’s into Star Wars. Like, that’s actually so much information to work with! Thank you! And then we also find out in TOA that Nico’s also kinda into art! We still don’t get anything new for Piper, Frank, or Reyna - besides again one more potential implication that Reyna thinks plants are Pretty Okay, and that nature is Mildly Alright. Like, not even “maybe she keeps a houseplant” territory, all we have is “if she had the option, she might be interested in visiting a flower garden.” But honestly TOA at least gives us something for most of the characters we see. Like at least one thing. Most of the rest of the writing is a mess but at least the characters are mildly interesting.

Anyways, give your characters hobbies, it’s good for them.

[sleepyyghostt]

any time i remember that trump supporters are in any way associated with christianity i feel fcking insane

[fratboykate]

Papi, are you alive? Thunderbolts trailer leaked and we got Hailee back from the dead (and there's the movie with Andrew and Florence and its KYAU coded as fuck) Kate and Yelena content galor this week. PLEASE COME BACK. We've been deprived for a year. It's been jail for too long. Grace us with Kate x Yelena content again. Pretty please.

*taps mic* Is this thing on?

[satansssgayassistant]

I have a clear vision of Barty wearing a dog chain as a necklace “it’s a statement” he would tell both Evan and Regulus when they mentioned it. He would wear it every day with every bloody outfit he came up with.

One day, while wearing the same bloody dog chain he decided to annoy Evan.

Evan smiled calmly and quickly grabbed and pulled the chain, getting Barty so close to his own face he could see his own reflection on Barty’s eyes. His pupils dilating and practically consuming completely the dark grey of his eyes.

“Stop that now, before you make me treat you like the bad dog you are.”

[the-faultofdaedalus]

It starts with the dreams.

They're not like other dreams. There's no distortion to them, none of the instability that comes with most dreams. Everything is vivid, clear. Your mind is sharp, orderly.

Nonetheless, it is not a lucidity. You don't know you are in a dream, and you won't, not until you wake up. 

You'll be in a field, a forest, on the shore of some great ocean. Empty landscapes, all of them. There will always be something there for you -- a cup on the stump of a tree, a perfectly round pool of water, a series of leaves, constellations wheeling across the sky.

The vast majority of people will only ever have one of these dreams. Whatever their reaction to the objects, the signs, the trials, they don't pass whatever the unstated test is, and they never have another dream again. They carry on with their lives, those lucky masses.

To some, to people like you, the dreams continue. They become familiar over a month, two, three. You'll put the leaves in order, you'll stare into the depths of the pool, the cup will fill with sweet-tasting tea. You'll see the stars wheel in patterns overhead, you'll find patterns in their dance. You'll preform these tasks with a strange, natural intuition, though some will feel easier than others. It will surprise you to hear that most people have no such drive, no such innate understanding of what these visions require of you.

Of course, you can fail these tests, should you wish to. You don't have bend the motions of the stars to your will until they are set in the correct patterns, you don't need to look to something beyond the pool of water, to see into a place that is not where you stand, to arrange the plants according to what is within, not without. You don't need to. You can avoid the fate you don't yet know about.

You can, but you won't. This drive is buried too deep to be avoided.

The last dream will have no task for you, no challenge, no test. You will awake in another empty place, at night, made bright by the moon, the stars.

In front of you will be a path, stretching straight away to the horizon. 

This will be the last chance you have to avoid this fate. You can avoid this fate, if you wish to, if you can gather your wits and realize that this dream is no longer entirely a dream. 

All you must do is not walk forward. Do not follow the path. Stay exactly where you are, even if you do not wake up. Especially if you do not wake up.

You only have one other choice, and it is the path.

You're already walking, aren't you?

Something is pulling you forwards, the same bone-deep intuition that you felt about the tests. Something not that you need to do, but something that is so easy that it would be more difficult to not you.

And so you walk, along the path, under the moon. You've made your choice; you'll find, now, that there is no turning back.

You will walk towards the horizon, and the moon will spin through it's phases like rotoscope.

When you next wake, you will not be in the same place you fell asleep. You will be somewhere new. Somewhere else. You will say goodbye to your old life, whatever it was. However perfect or dismal it was, no matter if you longed to leave it behind or were content with your lot. You will not have a choice. There is no way home, not from here, not anymore.

Welcome to the Witchdraft.