#i don't like writing more than one character at a time (which is why i roleplay instead of writing fics)

[corseque]

I honestly just wanted one single plot step that I could not predict given the 10 year wait. More behind the cut, I talk about Emet too, and I'm comparing his writing favorably to Solas' writing and why it worked better for me personally, but I am just talking about the writing skill that went into the games and not the dudes themselves, I love them both dearly of course. idk this is a mess and I am not going to edit it for clarity

For me, the game was a series of me saying

"ok I knew that. cool."

"oh yeah, I knew that. I guess it's good that the larger fandom knows about that now."

"nice, but yeah I already knew that too"

"that was something we've been talking about a lot for years"

"this thing they are acting like is a huge enormous reveal that the characters could not possibly have deduced through simply thinking about it in depth over the 10 years... the fans easily figured out by thinking about it in depth 10 years ago. So you would think his girlfriend would be able to figure it out more easily than we did. Like, why couldn't the game have been like 'oh lavellan already figured that out a while ago' it would have cost them nothing"

"this is something I've been thinking about for years, and now that it's being revealed, the companions' reactions to it are very irritating and jarring and unnecessary and I really dislike the experience I'm having right now, in this, the hour of my greatest triumph"

"this thing that is happening on my screen right now is something that I wrote an essay about 2 years ago describing how it would be a letdown if it happened without the correct setup"

"this way that they're characterizing Solas makes him less likable and less interesting than I have been finding him for all these years, and I have had people tell me 'no, he's simpler than you think' for years but I guess I was wrong, he really is simpler than I thought, so that fucking sucks. I wish I could take that information out of my brain."

"this thing is a retcon of information I have been thinking about for 10 years, and so I don't know how to follow along with this new direction, and I'm not sure if I even want to because it's not particularly interesting anyway"

"aw that was sweet"

"why is it like, so very impossible to have an honest back-and-forth with my favorite character about the dilemma that was most interesting to me about the previous game"

and then, as soon as, like, the other fans had caught up to the Solas lore that was really obvious from the other games, the game was.... over without anything surprising happening, or introducing a new element or plot point or perspective, or a real true twist (or two, or three) for those of us who have thought about it too hard for too long. It was very simple and easy, much, much, much, much easier than I was imagining. It all felt sort of like that Nicholson quote:

The thing was, the whole story was so interesting to think about because in 10 years, I couldn't figure out a good solution to it!!!!! It's why I was never able to write post-game fanfic about it. So I was stoked to find out some reveal we never knew about, some new information, in maybe a SERIES of steps of new information, that made the situation more complicated but also something that could be navigated by everyone involved. I know it was asking for a lot, but they had TEN YEARS, and they seemingly had set up the things they did in DAI on purpose, so surely they had some idea of a complex and satisfying narrative that would reconcile everyone.

The reason why I was expecting this is because FFXIV did a very similar story arc, which was started AND concluded WITHIN those 10 years (so it took the FFXIV team far less time to deliver as well). And the conclusion to the story in FFXIV did what I was expecting Dragon Age to do. So I thought, "holy shit, if this is the FFXIV version of this plot, how much more complicated is DA4 going to be!?!?" The DA devs also PLAYED FFXIV so they were completely aware, several years ago, of a satisfying story ending that was pretty darn similar.

People are probably going to think "oh, well Chelsea was disappointed because she spent too much time building it up in her head" but that's exactly it - I actually speculated and thought about FFXIV's story IN DEPTH NONSTOP for a year+ before its ending came out, and the ending absolutely blew me away. FFXIV Endwalker managed to introduce information and new story elements that I was not able to figure out in the YEAR I spent speculating on the ending of FFXIV's story. It took a complicated situation and revealed several several more facets to it that I was not able to predict, but were very interesting and thematically compelling, and took us all to surprising and climactic places that we could not have predicted.

Endwalker ("end" is in the title on purpose) too, was written to be THE ULTIMATE SATISFYING ENDING for a very long-running story in the exactly way that Veilguard SHOULD HAVE for Dragon Age, so while this complexity is being explored, FFXIV also gave catharsis to many different plot threads that have been built up through the previous expansions, until finally it ends with a bang. The story is desperately good to me, I loved it, it gave me closure for Dragon Age long before Veilguard was even revealed, and going back and looking at its story has made this whole thing far less painful for me.

So, I actually did not have a picture in my mind for how things SHOULD go. I just had the thought "I hope it's complicated and there are points of view or facts that we haven't before been exposed to, and the situation is resolved respectfully for Solas, not making him look like a fucking idiot (lol, the only thing I asked for). I don't even care what happens to Solas and Lavellan, I just need the story to be complicated and interesting to think about. Please, god, don't let it be "solas is wrong and he just needs to be convinced" because that's like the simplest story you could tell with this setup"

(btw they managed to tell Emet-Selch's story without making him seem like he's being an idiot on purpose or can never get anything right, and in fact the more the story goes on, the more you think of him as smart and capable and cool, so it is possible to write.... I wasn't asking for the entire moon)

And I played it and... yeah. Most of the story beats were more simple than I wanted them to be, a lot of them didn't make sense in my heart given the writing from Inquisition. (This is another essay, but if Solas' thematic story arc was always about him needing to let go of regrets, why was his personal quest the way it was? After that quest, doesn't he end up regretting not doing more....? Why did he never really talk about regret during Inquisition? If he was so trapped by regret, why was he able to do so many actions? It doesn't mesh well to me. The whole regret thing was very quarter-baked to me, I don't even like thinking about it.) His story never seemed like one that was as simple as being about one man's regrets, but then, I guess, it was always just about one man's regrets.

Emet-Selch's personal storyline (and the way it interacts with and affects the larger story) is very similar but much more cohesive and satisfying to me. It would be difficult to explain why without the aforementioned 5-hour essay. Emet-Selch's story IS about grief and anguish on a world-shaping scale in a similar way that Solas' was apparently always about letting go of regret, but Emet's story was also very pointedly and beautifully about that one theme for the entirety of his story from every tiny detail, from beginning to end - meanwhile, it seemed to me that they tried to introduce 'regret' as the main thrust of Solas' story only in the short story with the Regret demon onward.

From Inquisition just by itself, the closest I personally could get to a story theme for Solas was his inability to trust others hurting him and the world, but his trusting others in DA4 wasn't really addressed to my satisfaction. He is never required to trust anyone before the ending, he never opens up or makes himself vulnerable at all. People find out information about him, he never really dynamically opens himself. So the personal story I thought he had was never addressed at all, while a new one about regret was introduced that never made a ton of sense to me. And I don't think this is just because of my expectations - my reaction to FFXIV proves that I am able to meet good writing where it goes in surprising directions, as long as it's interesting and thoughtful and clear.

And I think this might be part of what people felt was off about the ending - Solas is sort of uninvolved in the revelations that are about him, and doesn't do much to be part of his own ending. Part of what I loved about Solas in Inquisition is that he is not controlled by you in any way, and so he feels like his own person with a very strong sense of character.

Anyway, Emet-Selch, in a very comparable and arguably more extreme plot position, is very involved in the revelations about himself, he always feels like a very strong character who cannot be affected by the player, and the whole situation is handled with deft emotion and care and delicacy. The story is comparatively very uninterested in litigating Emet-Selch or putting him on trial - the story allows you to simply feel the way that you feel in an organic way, and Emet's story spends that energy instead actually exploring his thematic material about grief and legacy, and the larger story theme of existentialism instead, in a way that is very refreshing and interesting. I've seen a lot of western stories tie themselves in knots over "redemption" and frankly it's almost never been interesting at all. Who cares about any of that. lol

(Now, I guess this is a matter of preference, because some people really like being able to shape a character's story, but idk I rewatched the ending of FFXIV and even though there wasn't a choice with Emet, because it isn't a branching story, his story felt more satisfying to me, maybe because there isn't a patronizing choice to be made for him. He is who he is, and he fulfills a very beautiful narrative role and purpose that no other character could in the story.)

I don't know how this could have been improved to me and still allowed players to choose Solas' ending for him, but I can actually think of a few different methods, none of which involve Rook condescendingly and patronizingly lecturing Solas as if Solas had never thought about a single aspect of this horrible situation he's in before that very moment that Rook lectures him lmfao.

All this to say... idk I'm writing this and I am not going back to edit it so it's stream-of-consciousness. But yeah

I just wanted the story to be complicated on a few more levels than I could have predicted. I genuinely don't care what happened, but I thought of a few twists like the Veil coming down and yeah, I was expecting A Single Twist or reveal to happen. In a Dragon Age game.

I wanted Solas to seem cool and capable and noble and smart, and actually feel like he was as old and experienced as he is.

I wanted a clear theme I could sink my teeth into

Like notice I didn't even say anything about Solavellan. Like I never in 100 years thought they were getting a happy ending where they were both alive in bodies, and I like that we got that, but I would honestly trade it for a more complicated story. To me, if a story is sad you can always write fanfic, but if a story isn't COMPLICATED, that's a much more urgent issue.

These 3 things DA4 didn't give me in a way that satisfied me but FFXIV did. anyway idk the way my hyperfixations work, I completely switch to a new subject so talking about Dragon Age is actually hard for me right now.

[delight-angelsbliss]

Don't you notice how I get quiet when there's no one else around?

Heh I wanted to post this sooner but here we are

welcome to my February valentines special that will go on for the full duration of February!!

You may choose a prompt and Character from my list and request<3 this is actually my first ever special/event I'm doing lol S1 prompts from 1 - 11 are by @/novelbear they're really cool and have amazing prompts (^-^) there also inconsistent small and large texts so it's actually readable cuz it gets cut off sometimes lol!! I'd also recommend that when requesting u say which Season ur prompt is from for example "S1 nr 4 with ___" u can also request up to 3 prompts in one! I'll try my best to use it all<3 everything can be requested as platonic!! Edit: can you guys please specify gender and if it should be hcs or not? As much information as possible would be nice and helps alot

S1 Cute scenarios<3

Spending all day watching cute crafts and baking to do

Rom com marathon!!

Trying (and maybe) failing to make food heart shaped

Realizing you both have contrasting views on valentines

"Baby, I love you, really, but if I eat one more piece of chocolate I'll throw up"

Making the same reservations at the same time but different restaurants and/or the same one

"I thought you'd at least ask me to be my valentines" "we've been together for years, I thought that was a given"

Both not caring much abt valentines but get dragged to a double date by friends

"How much did this cost?" "Does that really matter?"

Spending the night walking through the city silently

Begging your partner to get matching sweaters until they say yes

Buying couple shirts and deciding the whole day which one to wear that u completely forgot ur date

Not leaving bed at all

Going to the carnival

Double dates

Confessing with a love letter

first kiss together on your first valentines

getting proposed on valentines

Picking grapes together

Making heart cake pops and eating them but they fall down

"I think I deserve a kiss"

"You didn't have to do all of this!" "Yeah, which is why I did it for you"

"I wish everyday could be like this"

"Is it just me or do your lips look softer than usual?"

"We don't have to go out"

"I can never get enough of of how pretty you look"

Ordering in and watching crime action series

"You remembered?" "Of course I did, I love you"

Trying to do pilates together only to fail miserably

Writing a love letter only to throw it away but they find it

S2 Yandere scenarios!:

"I just got some very wise advice from a wise woman..." U can ask more abt this btw and I'll explain a bit more what I mean with this

"Gosh, you smell so good when we cuddle like this"

"Do you think I enjoy punishing you?! I don't!"

"Tell me how much you love me"

"I'm jealous of the way you are happy with them but not me"

"This world is a ugly place, you're too beautiful for it"

"I know I'm sick in the head, but you'll be my cure"

"I love it when we're so close together like this"

"Of course I'm jealous! You're mine, not theirs!"

"Dont you get it? I would die for you if you asked me to"

"Your skin is so soft"

"I just love the last souvenir of your eye so much that I'd like the other one please"

"I could kill you if I wanted to"

"I live for you, you're like my oxygen"

"If you run, I'll break your legs"

જ⁀➴ ♡ Matchups

I actually do match ups which isn't really known cuz it's in my rules and dni lol but I do make matchups in case anyone wants one<3 this was added on 20:37 on 4th of February which is a bit later than this was posted

For a match up I need as much information as possible it's also allowed in a platonic form

If there's a preferred age range and gender

Hobbies

Likes

Dislikes

Special interests

And more would be needed (^-^)

[protect-namine]

Ahhhhh your theory about how Vein died is sooooooooooo fucking real. Like I've seen people talk about how Lu Guang might have a secret power? But I feel like that's not the case cuz then we might have seen it play out in S1 and S2. Lg would surely would have used it in the fight with Qian Jin.

for context, anon is talking about this post where I theorize how vein "died." I go into it in more detail there, but the tl;dr version of it is: no lu guang did not kill him vein directly. he just delayed vein from entering the clinic early, thus creating a butterfly effect (hence his whole speech about it) that led to wang qing being awake when vein tries to leave with the notebook, thus creating an opportunity for her to "kill" vein which she wouldn't have had originally. but liu xiao interrupted this chain of events and that's why vein is alive using the faking death ability.

I am linking the reblog version here because other people have added their own thoughts since the creation of the post. I'm not sure if anon has seen it or just the original post, because in my original post I posit that liu xiao has the faking death ability. but after seeing other people's thoughts, I am now more leaning to the idea that wang qing has the faking death ability or perhaps, that a combination of wang qing and liu xiao is what made the "heart attack but fake death" happen. perhaps (unintentionally) they created a power combo-ing effect similar to how lu guang and cheng xiaoshi can create a mind link across time when combining their powers, or how li tianchen can possess people across space by proxy of li tianxi.

a power combo that works across "death" would be interesting, though this is merely speculative at this point. it would certainly provide another perspective to why they're paired up in the ed.

to now address anon: yeah, exactly. even if the addition of non-photo based powers is a recent change in writing direction (that they may not have had foresight on during the writing of previous seasons), it still would be too much of a drastic change for lu guang to be hiding another ability.

as I said in the post, it is unfortunate that we have to rely on information outside of the show to make sense of it, but yingdu really does make more sense when you've seen the recent interview with director li. in particular, it is heavily implied that liu xiao has more than one ability, and the process of gaining an ability (aside from inheritance from parents) is through death or stealing it from others.

while I am a believer in the idea that lu guang is willing to do morally questionable things for cheng xiaoshi, I don't think he would've had an opportunity to just get a new ability so soon after he just got the diving ability from cheng xiaoshi. on the flip side, if he always had multiple abilities since he was a kid, it would be bad writing lmao because then why has he never used it until now? especially when he's been timelooping for who knows how long to avoid a death node. I know link click is possibly retconning some details (2018 is now 2019, they changed the plans for red eyes, etc etc) but I don't think this would be a retcon they'd do because it would change too much of lu guang's character.

I am going to use this ask as a jumping off point to talk about yingdu's storytelling style, and how we should take this into account when analyzing this season. putting this under the cut now since this gets long and is kinda just a tangent now to the ask itself, though it does circle back to lu guang's role in vein's "death" in the end.

part of the reason vein's death is confusing is definitely because of the animation of lu guang puppeteering wang qing. I can totally see how people would come to the conclusion that lu guang was controlling her somehow. but we have to remember that yingdu is not like S1 and S2, for multiple reasons. one, it's a shorter season meant to introduce plot hooks, not plot; it's a setup for S3. two, it's a change in perspective from cheng xiaoshi's more grounded reality to lu guang who has been timelooping for forever. three, it was animated by a different studio than studio lan. fourth, it aims to provide a different story, and the storytelling style reflects that.

whereas S1 and S2 has a storytelling style that focused more on plot details and building up tension; yingdu focused more on relationships and emotions. it heavily uses visual metaphors in its storytelling compared to previous seasons.

in a way, although I have qualms about yingdu's writing, I do think visual metaphors is a valid solution to the problem of, "we only have six episodes to establish new plots and characters and motivations. how do we convey information efficiently in that amount of time without compromising artistry?"

I will mention one metaphor in detail that will be relevant for the lu guang discussion later. one example is glasses as a perception metaphor. this meta was written in YE5, and YE6 continues the metaphor as well because we see lu guang wear clear glasses for the first time, symbolizing that he is no longer stuck in his rose-tinted glasses era of looking into the past, and has decided to look into the future, solidified by his decision to remove vein from the situation and also because he reveals later that this is the last time he can loop.

there are, of course, more examples. idk if I have links for existing meta on this, but we have hands as a metaphor for relationships (hand holding, handshakes, fist bumps, etc) and the power balance of each relationship (with regards to secrets, deals, etc). we have various color theories floating around. we have theater/cinema and chess as metaphors for everyone's narrative roles. lu guang's imaginary clock as a metaphor for how he thinks the timeline should go, and how it's prevented from running by red strings forming the word BRIDON. we even see the clock fall apart in one of the later episodes (I forget which one atm). hell I could write a whole meta on liu xiao's tetris game as a metaphor for how he sees the "game" he's playing and the role xia fei plays into all of it.

side note: I think it's incredibly valid for people to feel that yingdu did not have enough space to properly establish characters, and I feel the same way too. but at the same time, I think a lot of characterization also gets missed in yingdu because it's a season that loves its metaphors and encodes character motivations through it instead of just showing it to us. I have conflicting feelings about this, but ultimately, they only had 6 episodes to tell a story, and I think that's something we should always keep in mind when managing expectations.

circling back to vein's "death" and lu guang's role in it... visual metaphors are gonna be confusing if people don't know this is what yingdu's storyelling heavily uses. I don't think we should be reading yingdu the same way we did S1/S2.

someone could watch lu guang puppetering wang qing and think, "oh he's using her to kill vein directly" but if we stick to yingdu's storytelling style, it is more likely a metaphor for him learning to manipulate the butterfly effect for his purposes (again also symbolized by the glasses metaphor, since he wears clear glasses in the same episode)

scenes should also not be taken out of context. there is a reason he made a whole speech about the butterfly effect first. a small change (delaying vein) results in a big change (killing vein). if lu guang was controlling wang qing or whatever, that is not a small change. that is not a butterfly effect. we literally had a butterfly land on lu guang's shoulder after he made this speech to vein. the point was to create a butterfly effect that would lead to a situation where vein dies.

and for my final tangent: this sets us up perfectly for S3 because I believe lu guang and liu xiao are supposed to be narrative foils.

they both have expressed wanting control over the timelines. liu xiao wants "to make uncertainties into certainties" (whatever this means) and lu guang wants "to make certainties (cheng xiaoshi's death node) uncertain." but as of S1 and S2, lu guang was not yet in a position to properly rival liu xiao over this theming, because we know he's been timelooping and failing over and over to save cheng xiaoshi, while liu xiao has been successfully manipulating people into doing things for him (getting li tianchen to retrieve liu min's phone for him; baiting cheng xiaoshi to go to bridon so he can use him to bait wang qing to revealing where she hid the location of cheng weimin's notebook so vein can steal it).

now, lu guang has shown some semblance of control. and we have seen the effects of it. cheng xiaoshi is still alive and well in a post-S2 post-yingdu timeline.

I mentioned this way back in YE2, but there's also a distinct change in the way we're moving from "closed loops" to "butterfly effects" as a theme in yingdu. yingdu has many objectives it wanted to do as a season, but the main one was lu guang learning to manipulate the timelines through creating a butterfly effect. in keeping with this theme and objective, it just does not make sense for him to kill vein by somehow directly controlling wang qing.

[utilitycaster]

i know you're getting a lot of asks recently, so feel free to ignore this, but I'm really curious on your thoughts on why Dorym (a ship where both characters were separated for most of the campaign) works and Imodna (a ship where the characters have actually interacted for hundreds of hours) doesn't. to be very clear, I agree with this assessment, but I haven't been able to articulate why. I did my best to search your blog, but I couldn't find any dorym meta you've written before- if you have, and I missed it, I'd love to be linked to it!

It feels like there are two separate parts to this so:

If I wrote Dorym meta it would be tagged Dorym. Off the top of my head I don't think I have; I enjoy Dorym but to be blunt this campaign and the character relationships within it, even the ones I enjoy, are insufficiently deep enough for meta. A lot of meta writers scaled back due to harassment, but also a lot of us have scaled back because there's not like, a lot to write about other than why the campaign isn't working.

In a hilarious twist of irony for the Number Bigger Means Ship More Good crowd, the main reason I think Dorym works is because they were separated for the majority of the campaign, and have had a number of meaningful conversations in both EXU Prime and after Dorian's return as well as nods to a sense of interest while they were split up, particularly on Orym's side (unsurprising as Liam is main cast and Orym has had much more time onscreen). The amount of time Imo/dna has had has actually worked against them, because they're physically present all the time and have known each other for two years prior and at no point does it ever feel like this is true. As a result, Dorian and Orym feel like they are making the most of limited time, and Imogen and Laudna feel like they are squandering an entire campaign of screentime. Also, I know chemistry is "you know it when you see it" and ultimately subjective but Imogen and Laudna fail to have it and Dorian and Orym do for me and it's that simple. I think this post also makes some good points about how in failing to ever challenge each other and in dropping every disagreement without resolution, Imogen and Laudna feel flat, whereas Dorian and Orym haven't resolved every disagreement but neither have they ignored them, which makes it a much more dynamic relationship to watch despite the decreased amount of time. I think had Imogen and Laudna's relationship been a slow burn, if any sense of the two years together was ever developed, or if any of their fights had actually come to something, this wouldn't be the case but as is more time actually hurts them because that time is about as interesting as sawdust.

[rottenlightart]

I've often heard the opinion, that Catra was a terrible friend to Scorpia, and that she didn't care about her. To be honest, I don't agree with that, Catra wasn't the worst friend for Scorpia within her capabilities, and really disagree that Catra didn't care about what will happen to Scorpia. I think their relationship is a little more complex than it seems.

(I'm not claiming that their relationship is “healthy and non-toxic,” and etc, I don't want to put any moral judgment on them because I'm not interested in it)

(I'd write many posts about my thoughts on some of the details of the series, but language barrier is eating me alive. Yes, it's a longread with bad English. I hope my attempts to translate this text are successful, but if it's an unreadable mess, let me know 🥲)

Yep, Catra in s1-s4 screws up with communication. The reasons, as I see it, are pretty obvious— she didn't get proper socialization, and on top of that, she was live in constant danger from birth, which had a big impact on her perception of people and contact with them in general. She never had examples of normal relationships in front of her, but she had plenty of things that would convince her to avoid people. Society around her was built on force and violence, she received a clear message that if only she will be strong people would not be able to harm her. (But Catra had Adora, yes. But their friendship, as perceived by Catra, was clearly antagonistic towards the world. Catra wanted to conquer the world with Adora, not be part of it with her)

Plus in s1 Catra has just lived a situation where the one person who promised her safety left her and started fighting against her. This fact, overlaid with the fact that every person she has ever known in her live, be hostile at her or straight threatened her life , explains to me her inability and unwillingness to have friendships. Perhaps she just doesn't see the point of them, because she never thought she could trust anyone but Adora, and after Adora run away from her life, that option was closed in Catra's perception.

(About "every person she known" - I'm not sure how close it is to headcanon, but I suspect that the other cadets could be bullying Catra behind Adora's back. In her perfect version of reality she interacts with other cadets much more often than in real life, this also convinces me of this)

Why then do I say her relationship to Scorpia is not clearly indifferent when I just say she didn't want friendship? Because I think she did care about Scorpia, but in ways that were possible to Catra. 3 facts speak to me about this. 1 - despite her outbursts of anger, as boss Catra is actually patient with Scorpia

Their relationship until the end of Season 4 would be easier to describe as a partnership; it was like a classic villain-sidekick duo. Scorpia acted like Catra's subordinate (she even call Catra as "our leader"), despite the fact that they were of the same rank, Catra repeatedly gave orders to Scorpia

Catra is bad as a friend who doesn't want to share standard friendship signals, but as a boss she is very patient with Scorpia. The only time she snapped at her, I'll describe below. This may sound rude, but as much as I love her, Scorpia… was a terrible employee. She often fails at tasks that are delegated to her.

She's losing the outposts she's guarding, she's failing with paperwork, she's failing to protect an important artifact... Scorpia screws up almost every order.

(Just in case, I say this without any negativity towards the character, she's not bad, she just wasn't suited for her position.)

And Catra is very patient with this. None of her commanders have ever demonstrated tolerance for failures. Her superiors strangled Catra just for self-affirmation of them, tortured her with magic for her insolent phrases and wanted to execute her for failures, while Catra was rude to Scorpia at worst. Catra showed uncharacteristic restraint with her.

2 - Catra defended Scorpia

There are several episodes where this may be shown The most controversial moment is the prison scene. I'm not sure if Catra's refusal to be rescued was a desire to protect Scorpia from the consequences, rather than emotional vulnerability after being stabbed in the back

Perhaps something in between is true, it's a complex scene. After all, she had nowhere to run, and she knew it.

But next scene is much more indicative. Their relationship changed after Catra's emotional outburst in s4. It was rude and unpleasant, but immediately after that moment Catra takes blame for failure on herself.

She didn't say that important data was lost because of Scorpia (as Catra thought it that moment).

Catra knew that Hordak could kill her for failing, which had almost happened in the past, and Catra was clearly scared in that moment. If Scorpia wasn't important to Catra at all, there wouldn't be any point in protecting her. In fact, there is no rational reason, other than affection, to risk her own life for it.

(In addition, Catra was a victim many times, and standing up to the aggressor from your childhood is an action that requires enormous willpower (trust me I know lol))

3 - Catra was worried about Scorpia when she didn't answer on her call

(It doesn’t look that obvious in the screenshots, but her voice at that moments is very expressive) I think no comments are needed here. Scorpia's departure affected Catra so much that she started looking for her through the security camera. Their breakup was one of the reasons that led to Catra's meltdown.

I could probably take more points, but I think my point of view is already clear.

As I said, their relationship does not seem to me univocal. Their relationships are complex and greatly influenced by the context of their life. This is why I love this series.

Perhaps, if they had more time, then even within the Horde their relationship could have come to balance. In any case, it's pretty bittersweet stuff.

[fandom-susceptible]

So I've been thinking about where The Dragon Prince left things after Season 7, especially since they had to wrap it up so quickly and it doesn't look like they're likely to get full ten seasons.

I'm still very unsettled by Terry. I know he had his whole "Zuko here" moment and "redemption arc", but it rings hollow for me for a guy who spent the previous several seasons totally cool with a genocide against his own people as long as it was Claudia doing it. I super don't buy his shock and dismay at Claudia trying to kill the illusion of her mother after what he himself did to Ibis. I want to know where he came from and why he's okay with Dark Magic, just so long as it's not Aaravos.

Which is only loosely tied into a thought I wanna dwell on more, but is somewhat important background information for my thought process.

So at the end of Season 7, Soren, Corvus, Pyrrah, and Terry take off looking for King Harrow in the body of Pip the songbird. They wouldn't even know to look except that Runaan confirmed that King Harrow didn't fight back at the assassination, and instead just squawked, and Corvus put the pieces together.

Ezran is still struggling to forgive Runaan for his part in Harrow's death, which I think actually adds to his depth of character. He's no longer an innocent child - the "true soul", "death of innocence" theme from this season was strong, and Ezran is the peak example of it. He must find a way to balance his ideals with the pain that far more adult figures have been struggling with for years. Callum made a good point bringing up that he forgave Zubeia, and we didn't get to see Ezran's response, but imo his reaction to Callum's betrayal sort of fills in the blanks. It was Zubeia's mate and son that she thought were dead. I can see how that would make more sense for a kid like Ezran, who grew up with very strong familial bonds and values, than Runaan and the other assassins carrying out revenge for someone else when they have no personal grudge of their own.

Anyways. Consider.

Pip/Harrow's been missing for three years now. That bird could be anywhere on either side of the continent by now, though he is living with the mind of a king. He's also nowhere near Katolis, or Ezran would have found him already, from going to talk to "Pip" and finding that the bird is carrying an entirely different soul.

So imagine, in that time lapse in the final episode, Soren and Corvus come back and confess that they haven't found anything of worth. The last maybe-sighting of Pip was from some soldiers in Viren's army who thought they saw the bird following them into the Sunfire plains in Xadia. It's been two years, and they don't know.

So Rayla says she knows someone who might be able to help. The best tracker in Xadia. He can find anyone on the Xadian side of the border, and anyone he's ever tried to find in the Human Kingdoms too. He's diligent and has only ever missed one target. If anyone can track down King Harrow, it's him . . . but Ez isn't going to like it.

Runaan.

And at first Ezran doesn't. But Rayla makes a point, and Corvus and Soren aren't having any luck on their own or with Terry (if he's even relevant, tbh, if I write it he probably won't be because i am still disturbedd by that guy). So he agrees - with conditions, of course.

Runaan is hesitant when he's told the news, and when Ezran asks him why, he just delicately points out that a king in the body of a bird is also a bird with none of the instincts of a bird, and may not have survived regardless of the war, unless he's learned how to feed himself and managed to avoid all possible predators for three years straight.

Ezran acknowledges it, tells him that's something he's . . . preparing for. But Corvus gets to make the call that they've searched too much and Harrow is likely dead. Not Runaan.

So the terms are agreed to and Runaan ends up going on a road trip with Soren and Corvus. Please imagine the comedic value of dignified older assassin in the midst of a major cultural deconstruction trying to do serious business with Soren. Especially Soren and Corvus. And the flip side - imagine Soren and Corvus seeing what Xadia is like towards Moonshadow elves, especially ones of Runaan's description (tall, menacing, leader, broken horn, homosexual - am I talking about Runaan or Kim'dael). Possibly featuring an appearance from the surviving Dragonguard, and Runaan's reaction to Hendyr specifically, the Skywing elf who KNEW Tiadrin and Lain stayed to protect the egg and chose not to save it or to clear their names.

[sergle]

man, you know, nobody asked me, but I have such conflicting opinions on some of the fat falin art, where on one hand: it's always nice to see A Fat Body in fanart anywhere + it's being done in positive ways, for funsies and on the other hand, there is something so familiar about how you are automatically The Fat One if you are a woman simply standing next to a more petite woman, bc I've had a 0% hitrate in seeing people change Marcille's body type and keep Falin's, or change both of them. it's just Falin

[front-facing-pokemon]

[cluescorner]

I cannot imagine being a Damian stan right now. You've got both Zdarsky's bullshit (where he clearly doesn't give a shit about your boy) and The Boy Wonder (where Juni Ba clearly gives so many shits about your boy) coming out on the same day. The whiplash must be insane. I hope y'all get some nice warm soup for your efforts jfc

[celtrist]

Why does Vassago already have merch, we haven't even met him yet

[fragmentedblade]

The "Dan Heng is Dan Feng" dogmatics annoy me a lot. It entirely brushes off one of the most interesting and prevalent questions posed by the game, incarnated by several characters and stories that give the question different hues with different potential answers, and a constant also in HI3, like a thread waving the two games together

[sysig]

Coding woes (Patreon)

[outlying-hyppocrate]

i have officially returned. ask me anything.

[longagoitwastuesday]

I am liking Jujutsu Kaisen, way more than I imagined I would, but I foresee it will let me down and it's keeping me from enjoying this as much as I could haha

I think the characters and dynamics are well set, and I think many of them have an incredibly good and deep potential, but I would be willing to bet they'll not get a proper development, enough for them to really hit. A well assembled set of gears is not enough to make the movement go, you have to wind the clockwork.

I think Gojo and Megumi have a fascinating and very complex dynamic, but I doubt it will be given the time and care that imo it needs to actually work. And it is going well enough for now! One could see the intimacy between them was deeper than the one Gojo had with, say, Yuji and Nobara ever since the very first few episodes despite the fact Fushiguro too was a first year. But the pieces forming what they have are extremely complex, and it just wouldn't be realistic if it doesn't show, even if in a not showing way, or if it doesn't have consequences or implications.

It's one of those dynamics that shape one's life, the way one regards the world, the way one establishes or not relationships with other people. It's one of those dynamics that could be full of fondness, gratitude, resentment, admiration, trust, and that imply intimacy, the good kind or the bad, even if in just the knowledge of someone who's been a constant through your life. It could, and would, imply a myriad of feelings, and probably in such a mix it could imply contradictory feelings too. Even the nothingness would weight, even the nothingness would be significant and meaningful.

Gojo took Megumi and his sister under his wing, the son of a man who murdered him, because of both selfish and selfless reasons. Megumi looks like Toji. What does Gojo feel about this? How does Gojo deal with this? How does Gojo go about taking care of Megumi? Would he walk him to school? Make him breakfast? Celebrate his birthdays making him blow candles? Did he take him to the zoo? Does the relationship between them feel professional or is it something more? Gojo appreciates his students, but is Megumi to him just another student? When Gojo faces Sukuna in Megumi's body, did he see the kid he raised, or does he just see Sukuna in one of his students' body? Did he have one faint wavering instant? And how does Megumi feel about this? Is he resentful of him? Resentful of the situation? Of the selfishness behind his actions? Does he feel like a pawn? Is he grateful? Does he resent feeling grateful? Would he rather not? Does he love Gojo? Does he feel nothing about him other than what he could feel about a teacher that sort of annoys him but knows he's reliable in his strength? Does he think it unfair, cruel or unfeeling that Gojo is close, closer perhaps, with Yuuji or Yuta, considering their story? When Sukuna slices Gojo in two, does the remnants of Megumi's soul tremble?

And not just Megumi and Gojo. Yuuji and Nanami, Gojo and Nanami, Yuuji and Fushiguro, Nobara and the boys, or Nobara and Maki, Todo and Yuuji or Yuta, Gojo and Yuta, Megumi and his sister. Gojo and Geto, even! If the pieces are well set, the dynamics are intriguing, interesting, and have potential to be deep, but then the characters have like two plot relevant scenes that punch you hard, but little more, it's not nearly enough. Especially not nearly enough for the enormity that is shonen dynamics and situations. And the potential existing at all, and then not delivering, makes it all the more frustrating when you're left with something mediocre that could have been so good.

The development of dynamics through not only a few plot relevant gut wrenching moving scenes, but also the smallness of life, is important. The friend who recommended this to me said that those things were just unnecessary filler, but I disagree. I think there's a big difference between a large amount of anime-only filler episodes whose existence is based on the fact they had run out of manga chapters to animate, and moments of quietness. The low stakes character-driven moments of quietness can be so telling and so insightful, and they are so satisfactory when brought back later in higher stakes situations. My friend teased me there was no scene of Gojo making breakfast to Megumi, that it would be an idiotic idea, but it would be so telling. How he makes breakfast, what they eat, if he tries hard or if it's all mechanised, if they have personal bowls or if they use whatever, if he just buys them some pastry on the way to school, if the way they have breakfast changes through the years, or if he doesn't make them breakfast at all! All that would be very insightful on their dynamic and its evolution. All that would give a glimpse on how they regard each other and why, even in the present. All that could become meaningful in tense situations and high stakes scenes.

These moments also let the plot breath; if a lot is happening all the time, if every character is always experiencing trauma after trauma, the entire story is so emotionally draining that at some point you don't even care all that much. Besides, these nothing moments or low stakes plot arcs, besides deepening and developing dynamics, also let some in-world time pass, which would make the intimacy and bond between characters more believable imo; between Yuuji eating Sukuna's finger and their last confrontation in December how much time has passed? A few months? Am I truly to believe these characters are so everything to each other in only a few months?

Without some smallness, some repetition, some daily life, some low stakes not plot-centric development, the dynamics don't hit, they don't truly feel fleshed out, and dynamics as complex as the ones Megumi and Gojo have, or as supposedly meaningful as the one Megumi has with Yuuji or his sister, should be fleshed out if they're going to exist at all. Otherwise they'd risk making the writing feel awkward and fake. Besides, if the dynamics felt well fleshed out and realistic, they would shape the way the characters interact and act, and how they deal with situations, thus being plot relevant.

The shonen genre has so much happening all the time, the stakes are so high, the dynamics are so rooted in big events and the relationships carry enormous weight and implications. Yet they barely get developed, and it feels so stupid, so plain, the absence of something so important noticeable like a constant void, a shapeless nothingness present in every scene. It makes the characters feel like cardboard figures. Jujutsu Kaisen is already getting a better job than many, but I doubt it will do enough for what I've heard, and I fear I am bound to feel let down, and bound to feel unmoved.

After all, if not enough time and care has been given to develop a dynamic, I am not going to feel pressured by the high stakes; if not enough time and care has been given to develop the dynamic between Megumi and Yuuji, as good potential as it has I am bound to feel little for this last confrontation between Sukuna and Itadori, and his effort in getting Megumi back.

[seventh-district]

not even gonna tag this properly bc i don't wanna get Involved but i do have some Thoughts i need to get out into the void so here we go

(aaa quick edit: CW for mention/discussion of Boothill leaks)

[gigantomachylesbian]

Guys. I did not know before now that writing could be painfully millennial in a full prose book but the pho*nix ke*per has proven me wrong and I have to complain about it in the tags