#i dont. i love that game. it is just flawed and i think people who already dislike DD but like AA4 want to pin those flaws on DD

[box-dwelling]

OK so as someone who just genuinely loved Dual destinies and is keeping my theis length DD apologia in the drafts at least for now. I genuinely want to know why people don't like it.

I have seen this take from so many AA fans who I completely agree about everything else with. I need to understand why it sounds like we played completely different games.

I will put some I've seen but feel differently about under the cut

Critisms I find unfair:

-it doesn't tie up the loose ends AA4 left hanging. We don't hold any of the other games up to this standard because they all properly finish up the characters arcs. Aa5 cannot be blamed for the problems we want to overlook in AA4. I do also love AA4 but it does leave a lot of dangling plot threads that the others don't and that would be a fucking nightmare to tie up *staring directly at sibling reveal*

- Clay comes out if no where. He's very well established through the game. He just isn't mentioned in AA4 just like Fran isn't mentioned in AA1 and Dahlia isn't mentioned before AA3.

Critism I acknowledge is a reasonable opinion people can have but strongly disagree with

-Spilting the game between the protagonists stops them having proper arcs. Athena is our weird girl for this game. She is our maya. We get to play as her for 1.5 cases. For the majority of the game she's taking up the weird girl screen time and she's honestly still doing that in the ones you play as her. She's just a weird girl who happens to be a lawyer. In the main game Apollo and Phoenix have a roughly equal amount of screen time by chapter. They cut the bloated filler not the arcs (yes I will argue that 5-2 is needed for Apollos arc. Its there to set up his relationship with Athena that us a catalyst later on)

-Phoenix and Apollo are OOC. No. Phoenix is still a cryptic little bitch when you don't play as him and in AA4 he was so very clearly missing being a lawyer. It makes sense. Apollo very clearly in the last case of AA4 regains a lot of his respect for Phoenix. No, he doesn't do this on screen but again that is AA4s fault not dual destinies. That's how he acts the last time we see him so that's how he's acting now.

-The Phantom comes out of nowhere. Plot wise, maybe. But so do a lot of AA villians. Thematically, he's the perfect fit. DD is a game about trust. Very, very explicitly. A spy is someone who can't trust anyone. The phantom is a man who's shut himself off so much from emotions that he no longer recognises why trust is needed. And also has an ability that directly preys on people by making them think hes a trustworthy figure. He's not an incredible villian but he is thematically cohesive.

-almost a part 2 to the last point. The Fulbright reveal comes out of nowhere. First of all 5-2 has some very very choice sprite framing lol. But beyond that it also is a thematically smart choice. We as players are conditioned in AA games to trust the recurring detective. The villain should be someone that we trust. The guy was likeable but also fundamentally always kinda hollow and did in fact pull a shit ton of strings in 5-4 that we all ignored because we trusted him. The clues are there. You're just not ment to pick up on them because of the formula of these games.

-Edgeworth doesn't need to be there. Again game with a theme of trust. He doesn't necessarily need to be there but his dynamic with Phoenix does. They spent 3 fucking games setting up how important it is that those two trust each other and in a game about trust his absence would be felt.

-I don't see this a lot but I did see it a few times. Blackquill is a bad prosecutor. Honestly this is a taste thing and I love him. He is my little bastard man. Also thematically he embodies the two people you aren't supposed to trust in these games, a convict and a prosecutor but is actually a cool guy.

-I've never seen this but I can guess it's happened. Pearl comes out of nowhere. Again theme of trust. Phoenix has just lost the two people he's been relying on to trust the most and needed to be reminded that there were other people he loved and trusted so letter from Maya and visit from Pearl.

-mood matrix. I like the mini game I think it's fun. My brain likes to sit and logically think about what emotions it would make sense for someone to feel in situations.

Criticism I agree with but really don't bother me

-Trucy is side lined. Yeah. I love her to pieces and will never complain about getting more of her but it doesn't make sense for her to not be there plot wise and they clearly just didn't have room for her. I am happy with my Trucy scraps. I would visit her and present every piece of evidence to her to get as much dialogue as I could.

-Klavier is sidelined. Also yeah. But he did genuinely need to be there for 5-3 thematically for that case. (It is literally a showdown between his school of thought and the one he thought phoenix had) but they couldn't make him procecutor because he'd be too much on their side. It had to be someone who at that point seems at least a little morally dubious. I wish there was more but I will also happily take my Klavier scraps.

-the anime cutscenes. I don't love them but I do have a little switch in my brain marked "watching anime" that I can flip and enjoy them for what they are.

-the switch of the voiced sound effects. Yes they are worse but like, I can live with it.

Stuff I don't like and won't defend

-turnabout reclaimed racism and fatphobia (also blatant animal welfare ignorance). I'm not defending it or overlooking it but it's not the only game in this franchise to be problematic.

[windowsapologist]

Real ai art spotting flowchart not clickbait:

Is this mistake something someone who can render in this much detail would make?

Yes?

The robot did it

[maythedreadwolftakeyou]

idk man been sifting through my feelings on all this. and i think what it comes down to is i don't really care/mind that there are non-canonical (BY DEFINITION, if it is not IN the media, it is not in the 'canon', and this info was in tweets) statements about Lucanis' sexuality being demi/ace/him being a virgin. and i'm glad for people who like to incorporate that into their headcanons about the game/interpretation of his character and expand on that more than the game itself does, like, this is our space now baby do what makes you happy!

but personallyyyyyyy i just do not think these new labels are some magic bandaid that solves the flaws in the pacing and writing of his romance. Lucanis never talking to Rook about his feelings as they get to know each other (but sure is willing to talk to Rook about his feelings for Neve if you don't romance him) is not solved, for me, by saying "well he wouldn't be attracted until he got to know you and also has no experience with sex". the same way calling it a "slow burn" did not solve this for me. especially because right up until release he was being advertised as a "bisexual mess". but now was secretly a "panromantic demisexual" the whole time. it just... idk. you can say anything you want online, you know? but if you don't Show Me... well. i also don't like that people who are saying 'well this was Not part of his story in the game so i don't see it' are getting labeled as anti-ace when like, many of the criticisms i am seeing are coming from people who are themselves demi/ace lol. it's not asexual representation bc it is not in the game itself. (though honestly. i AM glad that that was not jammed into his story arc, and that his quests were about his agonizing over his family and the fact that he's now bodysharing with a demon. because his writing was never going to get MORE lines, and to take away any of the ones he had to put in a sexuality arc beyond an offhand mention would have really crashed that because the existing writing barely holds together as is. like there just was not room to have more so personally i am not criticizing Mary Kirby for her decision not to add it. but you can't not add something and then also claim it's a definitive part of his character. plus i dont think a character needs to know/understand/use modern labels anyway).

and personally i DO prefer an awkward/fumbling Lucanis, to be clear. Before Veilguard came out I was never expecting the sexy antivan lover angle because we got that once already: Zevran. I didn't want poor-imitation Zevran, and bioware would not write Lucanis like that to make sure he is a more distinct character anyway. BUT i do think it's reasonable in a bioware game to expect that a romance is going to have romantic content--and the number of times after his cutscenes i literally said aloud "go girl give us nothing" after he failed to react to a flirt was pretty sad. If he's awkward and nervous give him a line where he stutters and doesn't know how to react, not just a blank stare and back to business, or whatever. Or a scene where you can literally ask "you never respond to my flirting do you want me to stop" and for him to say say he likes it but doesn't know how to reciprocate or. ANYTHING. Idk. I have seen 10 different posts/takes on how the Wall Lean Scene fits in, be it that he was imitating a romance novel or it was crow seduction training or he was just pretending because that's how he's seen Illario do it but at the end of the day. It is all just speculation because nothing in the game EVER addresses how wildly different the tone of that scene is from every other one of his romance scenes. And as much as i love the Sexy Wall Lean, given the rest of his characterization in EVERY other romance scene, i think I'm at a point where i think the romance would have been better served by cutting it out and having a different scene where you actually get to talk to him instead.

but! that is not the game we were given. we only have what we have, which is the Veilguard content by Mary Kirby, and The Wigmaker Job written by Courtney Woods (where for reference, he mentions stumbling into an orgy on a previous job, and having an "interesting" time getting out of that, so i already think we have 2 different interpretations of his character between them anyway). but yeah idk man to me "well he's ace" is not an excuse for either gaps in the writing or cut content or whatever was going on. because 1. HE IS NOT AN ACTUAL PERSON he is a storytelling vessel that i felt failed to satisfyingly communicate the entire romance story and 2. even if he was a person saying 'well in ace relationships communication sucks' would also be, not great, you know. everything beyond the text itself is just interpretation and headcanons

[zekeyboy]

I love apprentice adam as much as the next guy. Probably more than the next guy to be honest considering i want him to be alive so badly. HOWEVER. Let’s be real. Apprentice adam is so unlikely to exist for many many reasons.

Adam is not like Lawrence ideology-wise. Lawrence is an upper class white guy who like. he views his life to be ruined by these scum. these people lesser than him (ex. adam, for stalking him & photographing him, tapp, for going off the edge, so on and so forth) and its expanded on when we see the deleted scene from saw 7 where kramer talks to gordon about how like the bottom rung of society will always pull the good men down with them or whatever. like the fact that there was one trap where kramer puts a homeless man in the glass coffin and he has to like. eat shards of glass that got cut. really hammers in how kramer really views people - and in turn, the ideologies he pushes onto Lawrence. Adam is a highschool drop-out who’s, presumably, very involved in punk culture. He was originally supposed to have a huge photo of a Cuban revolutionary on the wall of his apartment. He’s probably never had a real job. In the original script, he’s very open about hating cops. He is the complete opposite of “Important White Male” Lawrence Gordon - and the perfect counter to Lawrence’s game (because, let’s be real - it was always Lawrence centric. I will come back to this later.)

Adam has always been considered the lower level of society. A “bottom-feeder.” He’s a drop-out, his line of work is very illegal, and - judging from the Scott Tibbs documentary, he’s been in that kind of crowd for a while and has forced himself to adapt to it. Trying to keep my personal view of Adam out of this analysis, he’s definitely spent a lot of time around the kind of people that kramer views as scum. He’s also, unsurprisingly, very sweet at his core. Look at how he talks to Amanda in the deleted SAW III scene, how he jokes around with those ladies. He’s like. A nice guy. Scott Tibbs even says so. Lawrence, however, isn’t the kindest. He might put on a face of nice, good guy, but he’s.. What people might expect Adam to be at their core.

Lawrence had his life together, and was dragged down by a bad decision. Adam has a different view and perspective on the world than Lawrence does. he was never at the top and pulled down. he’s been at the bottom and he works with what he has and i really like. i dont think that surviving his trap would change his perspective. i don’t think he would suddenly realize why kramer does what he does. It really wouldn’t help him. However, even if he was going to change his view of the world…

John Kramer does NOT like that guy. Like it’s very clear how biased he is here. Adam’s tape doesn’t even have rules. He doesn’t have a goal. He’s simply told that he might die, that he’s pathetic, and that he needs to ‘do something about it.’ He isn’t given rules, he isn’t given a consequence, he’s given such vague instructions. Lawrence, however, gets clear rules. Kill Adam by 6, or you and your family die.

The kicker, to me, is the fact that Lawrence fails his test. He doesn’t kill Adam by 6. He fails his test. Adam, however, is still alive at 6 - which would imply that he won. Now, I understand that the key was in the tub and that’s how he was supposed to get out. But even without that aspect of it going down the drain and him being doomed from the start, Kramer has a clear biased perspective on the two of them.

Lawrence failed, and is going to die. Adam didn’t fail - it was a design flaw, if anything, and he’s paying for it. Why does John save Lawrence, but not Adam?

It’s not Adam’s test, is the reason. It’s very focused on Lawrence. Anybody could’ve been in Adam’s place - he just had the bad luck of being selected as the photographer by Tapp. Adam was only used as a tool to counteract Lawrence - similar to the janitor in Saw VI for Easton. Adam was never intended to survive, but more to be used as a tool to teach.

Kramer, also, isn’t very fond of impoverished people. Amanda is a special case - but she��s almost more of a trophy if anything. If I got into John and Amanda’s relationship it’d have to be a completely new post, but he’s the kind of person who thinks that you just have to pick yourself up by the bootstraps i think. The fact that he, as I mentioned before, has a deleted trap where he puts a homeless person in the original glass coffin…. Is enough for me to figure out how he really views people below him.

I could probably go on. I probably will go on in my head. I’m very bad at organizing my thoughts. I hope this was comprehensive. I did my best to not accidentally mix in my own personal Adam thoughts that aren’t canon to the films (i have a lot.)

[kurishiri]

my thoughts on the presence (or rather, lack thereof) of dub-con in alfons’ route in en

thank you for the ask anon! since it contains spoilers for al’s route, i will put under a cut. also it is a long post!

hi anon! i did notice this, yes! they also made changes to some other scenes as well for a similar purpose. as far as i heard, it is sort of a general trend for the en localization to water down scenes that may be considered dub- or non-con; apparently, they have done this with other ikémen series games like iképri.

in alfons’ case, though, i have some mixed feelings overall abt doing so in this route. i hope i can explain myself ok!

on one hand, i think making it more “soft” so to speak does make it feel more accessible for readers in the western fanbase, who in general seem more sensitive (?) to the presence of dub- or non-con, compared to japan. i would honestly love for many people to be able to read his route and not feel super uncomfy? while doing so. so in this respect, i can get behind this decision.

that said.

i feel like other aspects of the story have been sacrificed as a result of this. i believe that, in the original story, scenes play out the way they do for a reason. if there is dub-con, they probably arent putting it all in just for the teehee dubious consent teehees. for example, part of what made this story interesting to me in the japanese version was that against the so-called conventional notion, sex was not used as a means to bring characters closer together, but more so as a way to make them more distant. theres this sort of irony and a theme of isolation (ironically in part due to sex) that i felt was more apparent in japan, in part highlighted due to the dub-con. i feel like making kate want this beforehand is more safe, yes, but also it sort of waters down this irony a bit compared to japan imho.

another consequence is in kate’s character. i think its kind of a strange change that in some parts of the story surrounding those scenes, kate is pretty insistent on facing reality to the fullest, but then one ask from alfons and shes ready to indulge in a fantasy, away from reality, as she asked for it. but despite that, she tries to push him as far away as she can. it sort of makes me feel there’s a gap or blip in her character if that makes sense. part of what made these scenes dub-con maybe is how alfons wanted to give an escape to kate via sex, but kate didn’t want that escape bc she wants to face reality. it creates more conflict between them.

part of kates character development in alfons’ route, too, is going from being staunch in the start of the story, to learning, questioning, and deciding for herself what is considered right? and what is considered wrong? as the story progresses. but with the whole kate wanting it since the beginning, this flaw is sort of lost since the start, making her development feel a bit more static, as by her saying yes to alfons since the beginning, it already establishes her as someone who wants to see reality, but also knows to see the benefit in an escape or a fantasy, when this is sort of what she is meant to develop into by the end.

ftr im not saying these things r completely lost! just that they feel a bit watered down? a bit less engaging? if thats the word, as a kinda byproduct of softening up the dub-con scenes. so i feel the impact may be a bit less compared to japan. but, again, i do understand why they chose to make such changes as well to en.

overall, i dont hold very negative thoughts abt it. nor do i really fully like it either. maybe its bc i play on both servers, but i feel like en just… doesn’t get an experience you could get in japan, which kinda gives me mixed feelings in a way as well, i suppose. i kind of feel that en deserves to read what was dished out in japan, without it being chosen for the fanbase what should be hidden from them (had there not been fan translators translating stuff more “word for word.”)

[lavellane]

ok i have avoided talking abt my datv thoughts but now ive finished and slept on it here it is. this is huge btw and really just a way to process my thoughts for my own peace of mind. and get out what i need to say. so yeah word salad below

2 disclaimers before i start. firstly i think im going to be SUPER blunt and clear about my thoughts on this post but then i will mostly be putting the matter to bed in my heart bc i am not someone who delights in being a hater nor do i take comfort in it. i will take from this the things i enjoyed and keep my distance from the rest. second disclaimer: ultimately i think i will still enjoy being a part of the fandom and seeing other people enjoy the game, because it will endear it to me and maybe take away the pain im feeling right now, so this isnt a long rant to make you feel bad about enjoying the game if you do like it! in fact quite the opposite. it comforts me that there are people who find value in the game and i hope in watching you play it i may be able to eventually be able to say the same

that being said . obviously i didnt like the game

which is an extremely difficult thing for me to say. i went into this game thinking "i will at the VERY least enjoy the game. not love it but at least like it. but im sure ill love it". it really is quite distressing for me that it didnt even really reach that bar for the most part. i TRIED to like it. i begged this game to give me ANY handhold at all that i could cling to, to forgive and like this game. i think the things i liked err more on the technical side. the graphics i loved, the character DESIGN was *fantastic*. the art. the pacing. the vague vision of what they were obviously nebulously aiming for. and honestly, i mostly enjoyed the main plot although i wish it had been more disciplined and constrained with the lore it was trying to expand on. act 3 was fantastic and naturally i am happy and fulfilled for the most part by the conclusion of solas's story, who i still believe was and is the best written "villain" of dragon age. sorry logang and meredith nation but i do still stand by this.

but thats really about it. as a disclaimer i am not an origins puritan or a da2 diehard or anything like that. i have loved (almost equally) EVERY single iteration of dragon age which has been released. i am one of the few people who sees equal value in inquisition and origins. i love them both so deeply. i couldnt pick between them.

for me what i love the MOST about dragon age - and which every single previous game has always nailed despite other flaws - is the characters. right under that is the world's capacity for introspection. and unfortunately nothing in this game provided that for me

regarding the characters: i do not care about a single one of them unfortunately. or at least i do not CARE about them the way that i have CARED about the other previous games companions. companions i would write banter about !!! just for fun when i was bored!!!! i would say my only exception is harding, but even then i care about her only because i care about her due to inquisition. overall i just found them all so ..... shallow. and devoid of any of the conflict or nuance or ethical quandries that make biowares stories so compelling - and sure, usually controversial! i would give ANYTHING for this game to have been controversial. for a unforgivable RO, or a problematic fave, or a cancelled wife. did bioware forget that their most beloved or at least enjoyed characters are people like anders, merrill, mordin solus, blackwall, sten, loghain, SOLAS??? i dont understand HOW they could have forgotten that, because solas is literally right there in game and handled (in my opinion as a fan) well. love him or hate him or dont care about him, he is such a hallmark of great bioware writing (in dai if nothing else) - characters who are not EASY to like. characters who are not SAFE to write and who WILL generate criticism from all sides because they are written boldly and unapologetically, strengthened by a foundation of consistent ideals, clear objectives and beautiful faults. characters that do not NEED you to like them, but instead invite you to engage with them critically. solas, even to someone who hates him, is nuanced and morally complex enough to muse and fight over for 10 whole years. hes IN this game, just as ethically murky as ever, but the morally grey hallmark of biowares writing really does kind of live and die with him alone. the rest of the companions feel like they barely made it out of their concept phase. what are lucanis's flaws??? genuinely asking. other than being a murderer who exists in an organization which buys and trains literal child slaves of course, but i'll get to that in a sec (because bioware sure as fuck didnt). um, i guess you could say hes broody?? and emmrich too. what actual flaws does he have?? he has a fear of death, as we're TOLD, but it does not really reflect in the overall convesations we have with him over the course of the game. mostly hes just.... a little bumbling i guess. bellara's flaw is being a scatterbrain. harding's is that shes..... angry??? but shes not???? fucking come on. i really felt the lack of actually being able to TALK to these people at the end of act 2, when i realized i still felt like i havent really MET any of them. and yet here rook is talking about found family and being a team. ok

and then there are the romances. which from my perspective - having romanced taash - and my friends who have romanced lucanis, neve and davrin..... WHAT romances. davrin's full romance is 20 minutes in a 30 PLUS HOUR GAME. solas had the least amount of content out of any companion in inquisition and was a last minute unintentional RO and still had like easily 50 minutes of content. so why did these romances feel like nothing. actually nothing. i was so excited for taash, but their romance straight up felt like neither rook nor taash even wanted to be there. i forgot they were technically together at certain points. zero chemistry. zero intimacy. all TELLING zero SHOWING. if you had told me that i would be saying these sorts of things about a writer like trick weekes a month ago i would call you fucking crazy to your face. i cannot reconcile that taash was written by the same person who wrote solas. i cannot reconcile that mary kirby - who wrote the fucking chant of light - wrote lucanis. its so dire. its devastating actually.

lastly i want to talk about my other point - bioware's famed emphasis on introspection and ethically quandries. again, i'm genuinely experiencing a sense of profound whiplash because when it comes solas's character you can still see it. its still there. they actually doubled down on making him worse than he was in trespasser which i LOVED and thought was so incredibly promising. they could have caved to solavellan fans and uwu-ified him but they didnt. thats great.

but where was that energy for literally anything else. everything has been defanged - even minrathous, the capital of the tevinter slave trade, does not even ADDRESS the elephant in the room of slavery. and i know because i played a shadow dragon. so tell me why i as a shadow dragon am happily allied with the crows, who solely exist to assassinate politicians and BUY SLAVES. THEY BUY SLAVES. THEY BUY SLAVES AS CHILDREN AND TRAIN/TORTURE THEM TO MURDER. HELLO??????????? there is no commentary made about the mages/templars. there is no discussion of the treatment of the elves in the north or Anywhere. there is no discussion of why exactly blood magic is or isnt acceptable - they simply tell us its bad. all the theories of the last 10 years were answered with handwaved comments or bare bones codex entries that honestly stripped so much nuance away from so many things (the blight, my BELOVED) that i dont know how im going to go about fixing it or making it right in my head. the introspective nature of dragon age always went hand in hand with player choice, but there really WAS no choice in this game as so there IS no real capacity for other interpretations or schools of thought. it is so..........................bleak.

i think the thing that finally made it click in my head that this game had fundamentally let me down was the gloom howler quest. and i know im not alone on this. for those of you who dont know - the gloom howler, "isseya" was the protagonist of the dragon age novel "the last flight". i would HIGHLY recommend you read it, especially if you're an origins fan. super bleak, super political, not flashy at all in terms of magic. it was set 500 years pre origins, during the 3rd blight. isseya is very similar to characters like loghain and solas in a way - a richly complex, beautifully intricate, terribly thought provoking character who did HORRIFIC things for the most NOBLE reason you could imagine, under the most traumatic of circumstances. im tearing up just thinking about her story, and how the title "the LAST flight" foreshadowed that her story had a definitive, bittersweet, finite and peaceful ending.

and then this game did THAT to her. turned her into a grotesque caricature of what she was. stripping her of her nuance and her capacity for atonement or forgiveness. and once again, i do not fucking get it. she was obviously brought back because she is a parallel to the solas dilemma. so WHY is she not afforded the same opportunity for empathy that he is. why is bellara's brother not either. its insane. its literally insane. i cannot begin to imagine the oversight or laziness or WHATEVER IT WAS that occured to have this game turn out this way.

there are innumerable other problems with the game that im not going to get into because what ive said above is the main crux of my problem. introspective and character. those are all i really wanted from this game, and like..... i thought we would get that. because the game centered around solas. and i know people dislike his fans for very fair reasons, but i hope those who know me know that i enjoy him not because hes hot (he is though) but because he is terrible. i love him because they made a character who was TERRIBLE, and then gave you the task of using your head and refelcting on your own morality and values and deciding and arguing and meditating over whether he is worth loving anyway. to me, solas is the person i point to when i want to describe why i love dragon age. its complicated, its nuanced, it is terrible and wonderful and everything in between depending on the angle you look at it from. and so having the writer of a character like THAT in charge of the whole game filled me with hope and dissuaded so many of my fears for this game. but i was wrong apparently.

so now im left with a feeling akin to survivors guilt. genuinely. because at the VERY least, despite me saying all of these negative things, i at least finished the game crying happy tears and being overjoyed that my favourite character was handled well and got an ending i enjoyed. and yet that happiness *i* got to feel and that glimmer of good writing was paid for at the expense of literally everything else. i feel almost personally responsible in a way, which sucks. im sorry to all the people who did not enjoy or care about solas, im sorry that you really did get nothing out of this game. i hope we can all be comforted by the trilogy we have and will always have, and i hope we can all take what good parts we enjoyed out of veilguard and make peace with the rest

leaving this youtube comment my friend sent me which is unfortunately a summary of how i feel about the game as a whole.

[shigayokagayama]

Could you do Teru for the ask game?

oh boy. ok.

Sexuality Headcanon:

gay. specifically. ok. maybe my most strange and specific take. but i feel like teru being into girls would kind of make his character arc... weaker? bizarre sentence i know but. hear me out. of the shots we get of him before mob enters the picture, 2/3 of them involve him flirting with girls. post mob we never ever see him with a girl again aside from one omake where there are a crowd of them trying to ask him out on valentines day who he is turning down. i feel like we are supposed to see these relationships as being a part of his fake, "perfect" persona he sheds rather than anything that came out of general interest. he's dating them because he's the handsome popular guy and that's what he's supposed to do, not because he's actually interested at all.

Gender Headcanon:

i like bigender teru a lot

A ship I have with said character:

terumob GIANT ASTERIX in the very specific context of being post confession arc. i see heart eye panel as the exact moment his false, idolized image of mob fades away and he sees him for what he truly is and still chooses to love him flaws and all. i really do think they are able to understand each other on a much deeper level than most people because they have both seen each other at their lowest and still chosen to continue wanting to be in each others lives. they both coped with their powers by creating these perfect masks to show the world (teru's as the prodigy and mob as the nice guy who will do anything for you and never ask anything in return) and were the first to be able to identify each other's facade because they recognized themselves in them and 💥. they mean a lot to me. also i do think the "they dont hang out much post canon" thing is a slight misconception, teru says they dont plan hangouts much and usually just run into each other and hang out from there. that with teru's "you should ask me to hang out more" gives such "im so used to other people making the first move that i havent developed the skills to let people know that i want them in my life" energy it makes me a little insane. anyway.

A BROTP I have with said character:

i need him ritsu and shou to run in circles hitting each other with rocks. i think any two of them on their own hang out normally and if you have the three of them + mob its normal but just the three of them and they start inventing games like "powerline volleyball"

A NOTP I have with said character:

pre confession arc terumob. like mob would never because tsubomi but if they did date it would last one month and they would never speak again itd be so bad (spoken from experience by a person with similar attachment issues who has dated people ive been hyperfixated on before)

A random headcanon:

HES SUCH A FILM BRO I KNOW HES A FILM BRO. this kid's letterboxxed is comprised solely of 1960s horror films made on a budget of 2 dollars and if you watch any of them with him he will provide trivia the entire film. also he has npd source fucking look at him

General Opinion over said character:

hes my favoriteeeeeeee the first time he showed up with the wig i went "alright this is gonna be my favorite character" and i spent the first half of season 2 mournfully going "i miss haystack boy :(" every episode he wasnt in. and then i read the manga and i got crazy insane over him. i really do feel like the anime dumbs him down a lot manga teru is a completely different person and hes so interesting i need to like. tear holes in my drywall. god. teru.

[drdemonprince]

Hi! I remember you talking about doing shadow work (in a reply to an ask, I think); do you have any advice on how to start? Especially for someone who who has a really hard time with consistency/habits? Thanks!

For me it is not an intentional practice separate from my regular life, it is an orientation toward my own most negative thoughts/impulses/reactions. I do not believe that any thought is harmful or morally wrong to have, and so when I experience a thought that is violent, cruel, bitter, pathetic, prejudicial, short-tempered, jealous, whatever else, I accept it, and study it with curiosity rather than self-condemnation.

I notice patterns over time in what I am particularly un-evolved and unenlightened about. What hang ups do I have? What weird bullshit respectability politics or traditional gender norms do I still apply to myself or to others? Who do I fuckin hate and why?

Which of these things can I just kind of shrug at and accept as a feature of my programming and which ones do I see seriously holding back my life? That's probably the hardest part of shadow work for me. I'm very aware of a lot of my flaws and the things i'm irrationally emotionally reactive to and defensive about, but I get attached to my way of seeing things. It can be scary to become more open-minded and uncertain and less spiky. And some things just aren't easy to change even if I want them to. Part of shadow work means allowing oneself to be in an unfinished state.

Another part of it for me is accepting with a dark kind of gratitude that the world would be a pretty terrible place if everyone was like me. There is so much about humanity that I do not understand. I could never be a surgeon. I could never be a good parent. I could never be a social worker. There is so much I am so bad at. Maybe this is the Narcissism and Lack of Empathy talking, but I've had to really humble myself. I used to think I was so much more rational and less of a waster of time and resources than most people around me. Now I realize I have run on self-denial and repressed emotionality for a very long time and demanded that life have some Purpose when it doesn't. So a lot of my shadow work has been acknowledging my ultimate smallness and feebleness and just general uselessness -- i have a lot to be grateful to other people for doing, but also life has no purpose that needs to be fulfilled so i can just exist and suck for every single second that i'm alive if that's what i'm gonna do.

radical acceptance shit is definitely mixed in there, and some DBT kinda strategies. I've finally arrived at a place where I can love my dissatisfaction as a core part of me and accept that life is not meant to be happy and comfortable. we always keep moving, changing our environments to make them a little better, chasing after new passions and then getting disillusioned with them, falling in and out of love, getting lost. we're always lost. we're always making mistakes and being dumb as humans. that's like what we are. silly little freaks that make up lots of pretend games for fun but then get swept up in believing them too much. i kind of feel at peace now with the fact that i'll always be messy and impulsive and have weird beliefs and will change constantly and look back on my past with a cringe reaction every four or five years. i dont expect myself to ever arrive, because what the hell would that look like?? being satisfied and happy sure sounds a lot like being dead.

[most-datable-datable-bracket]

ROUND 3 MATCH 18

Dys propaganda:

“Autistic ecoterrorist king - not canonically autistic afaik but he's one of those characters where it's like come on. This is basically canon. He's deeply weird and very distant from most people but if you get close to him he's ride or die, he's quietly adventurous, he says at one point that he feels like he was born in the wrong species, in the prepubescent stage of the game one of the default openers for approaching him is that he's sitting there sorting rocks for fun. I love his weird emo ass <3”

“Maybe I just have a thing for sad emo boys but I immediately loved dys so so much. kind of an outcast boy for the entire game, he feels like he really does fit in with the rest of the colony kids and is honestly pretty upset about people trying to industrialize/destroy the nature of the planet they've landed on because he thinks its so beautiful and they'd be best to just leave things alone and let nature run its course. has a twin sister who's pretty much the exact opposite of him and they both have a kind of jealousy about what the other has (dys thinks everyone thinks his sister is better than him and that everyone likes her more than they like him and wants to feel cared for the way he thinks she is. she feels she has a lot of expectations on her and wishes for the freedom she believes dys has with no expectations or eyes on him) however you can make them kind of bond if you choose to. if you dont date him and kind of if you do he falls in love with a humanoid alien on the planet that the player can also date and be in a polycule. i really just wanna give this boy a hug because he desperately needs one”

Nightowl propaganda:

"VOTE NIGHTOWL MY MENTALLY UNWELL MOMMY ISSUES FUELLED PUPPYBOY BOYTOY TWINK !!!!!!!!!!! MY TELEKINESIS THROWS EVERYTHING ACROSS THE ROOM"

"HE'S SO SPECIAL HE CALLS YOU A BITCH LIKE YEAH DUDE I'M ALSO MEAN WHEN I'M ANGRY ITS OKAY HE'S STUDYING TO BE AN ARCHITECT HES CUTE AND FUNNY AND ENERGETIC HE LIKES PLAYING WOULD YOU RATHER AND JUST TALKING AND HAVING GAME QUIZZES HES PERFECT AND HES FLAWED AND THAT JUST MAKES HIM EVEN MORE PERFECR INSECURE BBY MY LOVE"

[strange-guy-in-the-forest]

harper appreciation/analysis rant

i think harper would hate anything that would make them feel weak or vulnerable BUT they would get turned on by it. they'd be mortified but also grateful for the unique experience then go jerk off about it or maybe make their patients re-enact it for them.

i also don't think they mind appearing weak. they are after all just a humble doctor who takes on tough cases like traumatized orphans, not a mayor or high elk or whatever, despite being a skilled hypnotist. as long as they feel in control in a situation, it doesn't bother them. probably because they think they're the smartest person in the room and out-scheming everyone else.

they're also just, so, so, so. all of the harper love points are gotten through being sexually receptive to harper, in situations where harper is in complete control. harper is vulnerable when they're overtaken by lust! they're stuttering and no longer the logical doctor so it makes sense that they'd much rather enact their lust through voyeurism + masturbation where they don't have to look like a fool. or they only enact it on people (cough cough orphans, the insane) whose opinions don't really matter. harper feeling affection for a pc who sees them in this maximally-controlled vulnerability and is responsive to it, is just, cute.

im sorry-not-sorry but harper is an evil monster but an adorable pathetic evil monster.

but like the patheticness doesn't detract from the scariness and that's like the best part! harper is deeply bitchless BUT you're going to be their bitch whether you like it or not. and, you will like it soon enough.

i just love the combo of them being this evil pervert with a need for control. they are so excessive in their lust and it's just boiling under this professional persona. like you can guilt Harper over the fact that they're a doctor into not abducting PC! they do seem to take actual pride in their work, it's not a complete farce. they're very against even letting other people directly force PC to do things. the elk cult seems like it's existed in some form for a long time, i wouldn't be surprised if harper's thought the cult was inevitable and that they were being a good person by hypnotizing sex slaves into enjoying it, so everyone's happy.

harper actually considering morals in their actions is just the cherry on top. im trying to avoid referencing the q&as as those aren't canon, but vrel has said that harper has a code of ethics and that harper's greatest flaw is that they don't do the right thing when no one's watching. like you're telling me harper feels GUILT when they're being a shameless rapist. that's fucking delicious. like their giving into their lust not only overpowers the ability to appear professional and intelligent it also causes them to loose their actual morals. like the guy who is trying to get people to give up their minds to lust is actually also giving up their mind to lust too! that's like the one morally consistent thing harper does actually!

and i dont think sexual abuse occurs because people "give into lust" or whatever, you can just get a dildo (at sirris' shop! but this isnt going to turn into a sirris post). harper's abusing their institutional power because they can get away with it. but this analysis is in the context of a game where there is evil magical horny corruption. though, i will say institutional violence is a big theme in dol, especially in relation to harper.

i just love the tension between harper's intelligent kind professional persona and their animal lust. the lust threatens to overwhelm this doctor who i think actually thinks of themselves as kind and intelligent. it's just we see pc's POV where they are cruel to the "lessers" of society. they are in a situation where they can abuse anyone and in a way their freedom to give into their lust, controls them! honestly, it probably scares them, going back to them feeling out of control from their lust. it's why they're a voyeur and why they prefer their sexual partners hypnotized or drugged.

harper isn't trying to fuck pc, they have these ethics where they think turning PC into a happy brainless slut is the right thing to do but they understand its wrong to take advantage of their patients, but they just can't help themselves to have some of pc too. and so them abusing their power to have sex with pc is also, a vulnerability and corruption of their self.

anyway i feel like im reaching and/or repeating myself now so this is all to say:

Harper is both very powerful and very vulnerable when they're lusting over PC and so PC should fuck them in the ass and take their virginity. 😋😋😋

[theygotbitchesinmedia]

okay so here is her review: https://arkadymartine.wordpress.com/2015/09/27/the-traitor-baru-cormorant-a-reviewresponse/

admittedly its from 2015- i haven't poked around to see how she may have changed how she feels about it, and i know she did blurb seth's recent scifi novel (Exordia), so there's no bad blood there or anything. it's also a positive review, in general- she ends with this sentence: "I highly, highly recommend this book; I have not thought so much about something I read in a long time."

i am also coming into this as someone who has read all of seth dickinson's work for the game destiny, where he was near-singlehandedly responsible for a good oh… 80% of the interesting women (& overall interesting concepts lol!) in the game, and his writing of one of those characters in particular as a complex and flawed character got him bullied viciously off of all social media. if you've tried to find his social media presence and havent found anything, that's why. so i mayhaps have a little more emotion in the game.

THAT SAID. here are some specific parts from her review i find really fucking annoying! and color the way i feel about Memory & Desolation, despite them being so incredibly targeted at me as a classics person AND someone who fucking loves the specific sub-genre of scifi her novels are.

"[Traitor] asks a question which I find compelling as a student of an empire and as a queer woman. That question is: what do we gain by complicity? What do we – we barbaroi, we women, we queer people, we imperialized – what do we get when we say yes? When we say yes I will hide my true nature? When we say yes I will subsume myself into the beautiful machine? When we say can we speak English? Or the literature I love just happens to be written by straight white men – and mean it, too, mean it with the kind of depthless love that a person can have for a text that speaks to them, which holds up a mirror to them?"

i dont think the use of the greek word for barbarian does anything here (she also keeps coming back to the greek term orthos in her review, which also pisses me off lol), i dont think empire is a "beautiful machine," and i don't think the invocation of identity politics is useful. like. i know she's a byzantine scholar but if your first association with empire is purely a finite Historical Empire instead of, like, modern US imperialism, or British colonialism, you are going into this discussion with a certain set of values and opinions! a set of values and opinions that let you call an empire a "beautiful machine" in all earnestness. this claim probably seems unsubstantiated and nitpicky now just from this excerpt but ill come back to it with more i promise. on the idpol front, she also says immediately after this that she does believe that straight people can and should write queer people, but that they should listen to queer people when they point out those errors. she then continues:

"But then, critique: there are two points on which I think Dickinson’s portrayal of a queer protagonist has faltered, and I think both of these errors arise from the fact that he isn’t part of – as far as I know at the time of writing this review – a queer community. Firstly, I disbelieve Baru’s awareness of her own desires… …For the first portion of the book, her queerness felt more like a character trait assigned to her for reason of plot than a naturally built part of her as a person… Secondly, I wonder where queer people in Falcrest are…"

theres more to these excerpts, but. i personally didnt find the depiction of baru's desire to be unrealistic, and also this was a review of Traitor, specifically, so where on earth would baru have heard about queer people in falcrest? and more importantly, why should we care so much about queer people in the imperial core? moreover i think the way seth does it with svir is very very well done, and illustrates the hypocrisy of empire in a way that does NOT seem like what martine is asking for here!!!

"Why am I invested? I myself am a student of empire. I’m a Byzantinist. My academic work is about empire and its seductions; it is the animating principle of my professional life. And: I am myself someone who loves order over disorder. Who looks for systems in all things. Who is comforted by structures; who is concerned deeply with propriety. But here’s my real criticism of this book: I don’t buy the seduction of the Masquerade. And I think if this book fails, it’s there: in that its empire is too easily read as undesirable. As profane, unethical, fundamentally wrong. It is really overtly evil." … "The Masquerade isn’t civilized. It’s civilization, but I don’t recognize it as civilized, and this is a problem with a constructed empire. An empire relies on itself as the definition of civilization – I would footnote here Ann Leckie’s Imperial Radch as a SFnal example of an empire which is built on this principle, and which, for this reader at least, achieves the facsimile. (But then my ancestors were not enslaved, we were exterminated; not annexed, but exiled. Perhaps I like the Radch better than the Masquerade because I can find a place for myself in it, and cannot imagine a place within the Masquerade someone like me would ever be safe –)"

and THIS. THIS RIGHT HERE IS MY BIGGEST PROBLEM. critiquing the masquerade as not "seductive" enough, calling it too evil to have people join it- how does someone miss the point THIS badly??? like. are you FUCKING serious??? how do you read a book about the immense violence of colonialism and your problem is that it is boohoo too violent for people to join willingly. google literally fucking anything the US has done ever!!! and the invocation of the concept of "civilized" as an objective quality, despite the recognition that the empire constructs what counts as "civilization" is so fucking unserious/simplistic/juvenile! why do you need to imagine yourself a place in the empire? in the imperial core specifically!

and i think this particular approach bleeds into her books. i read them at Least 2 years ago, so this is mostly vibes-based, and i will avoid spoilers.

there is such a focus on the allure of the imperial core, on the "beautiful machine" of the empire as she calls it. there is violence done, but it is abstracted away from the wealth of the imperial core. there are no economics there. the empire sees her independent station as a backwater, and there is some cultural tensions there, but there is no realistic violence and exploitation! it is not clear at all what maintains the empire, besides some abstract idea of trade. i also don't know what her Point is with the naming & language conventions, which are very clearly inspired in part by ancient Mayan- e.g. the empire and core planet are called Teixcalaan. and idk this may be reductive of me but i think if you are going to pull features from civilizations that have been colonized and use them to inspire fictional colonizing forces, you ARE saying something there! idk! and like, the ancient Mayan

and on the ~representation~ front, i also don't think she does a better job than seth tbqh!!! i felt like the characters getting together came out of nowhere and felt anticlimactic- there is also not the tension i think there should be with the main character being an ambassador-ish and the love interest being… idr. junior intelligence officer iirc? idk! and for all her critique of baru's desire for women not feeling "real" or present enough, i do not remember the main character in Memory having any real focus on it!

i enjoyed Memory just fine, but i don't think it says anything interesting or novel or even critical about empire, and i found her review of Traitor extremely shallow and useless, if very revealing about her own outlook on empire lol!!!

this has been at best Minorly proofread and edited but im not like, writing an academic essay on the matter and so i apologize for any inconsistencies.

oh man thanks for this this is really interesting. i went and read the whole thing and i agree a ton with your critique. i'm going to stick my thoughts below the cut because i went on for a bit here, in typical fashion.

i personally didnt find the depiction of baru's desire to be unrealistic, and also this was a review of Traitor, specifically, so where on earth would baru have heard about queer people in falcrest? and more importantly, why should we care so much about queer people in the imperial core?

NO BUT EXACTLY... for starters this is explicitly a novel about colonized people taking place in a colony where none of the major characters are from the empire. where, when, and how would we take the time to explore what queerness looks like for them and more importantly, like you've asked, why the hell should that be a priority for the narrative in this case.

in terms of 'i found this to be an unrealistic depiction of queer desire' 9/10 times i feel like what that means is 'i found this to be an unrelatable depiction' which is an entirely different critique. i know i'm working with two additional books worth of context that martine isn't working with here. but even taking into account just the characterization we have for baru in traitor i think this is suuuuch an unfair complaint. i'm gonna pull the entire quote she says about baru's sexuality here because i have additional specific gripes with it.

Firstly, I disbelieve Baru’s awareness of her own desires. In the first portion of the book, I do not ever feel the weight of Baru’s own awareness of her sexuality; there is an absence of carnality, a kind of intellectual version of lesbian desire which is, to me, inconsistent with the sort of desire I expect. Not until the introduction of Baru’s eventual lover Tain Hu do I get a sense of Baru as a woman who loves women. Further, considering how very much the Empire of Masks and Increastic philosophy criminalizes the sin of queer desire, I wish Baru had struggled more with the nature of her desire. For the first portion of the book, her queerness felt more like a character trait assigned to her for reason of plot than a naturally built part of her as a person. This markedly improved in the second half, where Baru notices women in a way she does not notice men.

For starters, it is insanely hypocritical to me to complain that her desire both isn't carnal enough and she processes it too intellectually, but that she isn't struggling enough with it. Baru intellectually processes things! That's her entire character from the getgo! She also has a difficult time conceptualizing other people as fully realized beings with their own agency. These character traits paired together don't make for a particularly passionate and carnal relationship to her sexuality. She is also, at her absolute oldest in this book, 21! (Or 22? I can't remember. I know she spends 3 years in aurdwynn) and has spent her entire youth being groomed to be a scholar. Of course detached intellectualism is her primary way of navigating all things. Why wouldn't it be?

Baru primary motivation is to save taranoke, she wants to save the taranoki way of life, and part of that way of life includes an acceptance of nonhetero nonmonogamous relationships. Sure, a different character arc may have involved baru actually internalizing and then having to break free of the trappings of race, gender, and sexuality that the empire tries to impose upon its citizens. but that's not baru and acting like this is a writing flaw rather than a character choice is insane to me.

There's absolutely no reason for Baru to lie awake at night pontificating about how wrong and dirty of her it is to want to have sex with women because we are never lead to believe even for a minute that Baru puts any emotional weight in incrasticism. She doesn't conceptualize it as sinful she conceptualizes it as illegal!

And "Not until the introduction of Baru’s eventual lover Tain Hu do I get a sense of Baru as a woman who loves women. " is killing me in particular because like. Yeah. Tain Hu is baru's first love. thats the point. But beyond that this is just not being able to see anything other than what she's looking for because i think the chapters covering baru's childhood make it pretty clear that her feelings for aminata and cousin lao (im not double checking the name but im pretty sure it was this) are deep and strong. the fact that they're not as explicitly and straightforwardly romantic and sexual as her relationship with tain hu doesn't change that, and in fact, points to baru's struggle with/development of her sexuality that she claims was somehow missing in this book.

like i just simply can't see anything here but someone who is seeing an emotional landscape they can't relate to and assuming that means it's flawed writing. skill issue frankly.

She's also fucking insane for acting like the masquerade is too cartoonishly evil to be appealing. once again im going to post her full quote here because i think its important to see

its empire is too easily read as undesirable. As profane, unethical, fundamentally wrong. It is really overtly evil. It punishes sexual “deviants” with mutilation and death. It murders children callously. It inflicts plague and withholds vaccines. It lobotomizes its own emperors for the sake of convincing its populace that the emperor is just. Most of all, the Masquerade is a eugenicist empire: it is explicitly founded on not purity of bloodline but on purification of bloodline, on making people useful to it. It makes people: it breeds them carefully, it indoctrinates them through schools, it uses drugs and operant conditioning to transform their minds and make them into automata tools. It commits every atrocity that a modern Western reader recognizes as abhorrent. This is a problem. It is a problem because we are asked, as readers, to believe that there are reasons besides blackmail that a person would willingly become an agent of the Masquerade. We are asked to imagine that the Masquerade is a beautiful machine.

for starters. "It commits every atrocity that a modern Western reader recognizes as abhorrent." MODERN WESTERN EMPIRES DID, AND OCCASIONALLY STILL DO, MOST OF THESE THINGS!!! THIS IS US! WHAT ARE YOU TALKING ABOUT!!! I FEEL INSANE!!!!

I think the book makes it more than explicitly clear why the empire is appealing??? it has all of the capital???? its building schools and sewage systems and importing food and goods and teaching reading and writing??? baru's own internal narrative often shows her own strife at the fact that the empire has made genuinely incredible scientific advancements that offer significant improvements in quality of life to many, many people. martine actually acknowledges this in the next paragraph of her review, and then brushes it away as not being good enough. why? what about that doesn't convince you?

she is seeming to hugely ignore the fact that in the case of aurdwynn specifically, the bureaucracy of the empire is coming in to unseat feudal aristocracy! what the masquerade offers may not be particularly tempting to most of that ruling class, but its economic opportunities are more then believably appealing to the common people. i think this is made pretty clear when baru's ploy to use the fiat bank to make loans to the aurdwynni people and basically lessen the massive tax burdens from the duchies wins her huge favor with the public.

and frankly even for the ruling class the potential economic benefits are massive too if you're willing to participate in the empire properly. yes the empire doesn't have Moral appeal. it doesn't fucking have to. it owns pretty much every economy outside of the oriati mbo. the fact that that's not enough for her is as you've pointed out really really showing her biases and blind spots. 'no reason besides blackmail' MONEY!!!! MONEY! IT'S MONEY! THIS IS A BOOK ABOUT ACCOUNTING! HOW DID YOU MISS THAT!!!

and the invocation of the concept of "civilized" as an objective quality, despite the recognition that the empire constructs what counts as "civilization" is so fucking unserious/simplistic/juvenile! why do you need to imagine yourself a place in the empire? in the imperial core specifically!

And this is really it for me too, yeah. It's gross. It's absolutely gross. "An empire isn't believably appealing unless I, personally, find it appealing" there are people alive who are eugenicists, who love community policing, who believe in race science. the masquerade is an empire for them. the thing about empires is that they are only actually empowering for an incredibly small subset of people, and the fact that You, Specifically, Arkady Martine can't imagine being one of those people in this instance doesn't make it not believable. This is a shatteringly individualist way of engaging with a work.

As for your points about the way she handles empire in her own book obviously i can't have anything to say there because i haven't read it yet, but i do absolutely agree with you on this bit:

and idk this may be reductive of me but i think if you are going to pull features from civilizations that have been colonized and use them to inspire fictional colonizing forces, you ARE saying something there! idk! and like, the ancient Mayan

1000% i don't think this is reductive of you. whether or not you're consciously saying anything is one question but it's a choice that absolutely doesn't exist in a vacuum. out of curiosity i googled her to see if she was of mayan descent or anything and maybe she chose that due to some personal ties to the subject matter but she doesn't seem to be. which of course i don't think means she can't or shouldn't draw any inspiration from there but i do think all of these sorts of choices are meaningful

i don't really have much to say here to round off a conclusion but. wow. deeply deeply telling review that does not particularly make me want to read anything she has written beyond this.

[roughentumble]

God. I bet Logan gets really bad domdrop. He'll finish a scene and get real quiet and then softly asks, "Babe, am I bad person?"

GOD. LITERALLY ABSOLUTELY SOOOOOO TRUEEEEEE

because he's always at war with his desires and his impulses and he tries to act very Human, like he doesnt /hate/ being a mutant and there are parts he embraces, but he also tends to hide/downplay those sides and only bring them out when he WANTS to shock someone. he contains multitudes. he's like, big on how others perceive him and will play into that intentionally in order to get the social upper hand by not presenting exactly how you'd expect, either being more or less animalistic than his apperance and your own biases would lead you to think.

im getting a little off topic but it is related! despite all that he is scared of being Too Other, Too Freak, Too Beast, Too Animal, Too Mindless. is he too violent? can he put down the violence, will the world let him? is he only made to be a weapon? what would others think of him, if they saw all the instincts he fights against? is he the instincts he fights, or is he the thinking man who wrestles with them?

all questions he struggles with, so any scene-- but extremely and especially a scene where he's mean or violent-- is going to bring those questions back up in his head until he's found a way to settle them and accept himself. i love the idea of wade and logan going out into the woods to dismember and gut each other, and then fuck in the bloody aftermath while their bodies are still knitting together, but logan is still trying to cling to normalcy and humanity enough that it would cause MAJOR domdrop once they were done. he'd be nauseous over what he got pleasure out of doing to another person, because doesnt that just confirm every evil thing ever said about him? while wade doesnt have the same reservations, because he's made peace with his own violence, and is much easier able to compartmentalize what theyre doing here as their version of "playing" because they can both take it. logan has absolutely no desire to dismember someone who cant grow back from it(or even if he does have the urge to do so with people who wont heal, the fact that they wont heal stays his hand and makes the thought repulsive even when the urge to do so with SOMEONE remains), so clearly this doesnt say anything bad about logan, to wade. clearly logan is just someone to the left of human who has inhuman urges and has no interest in sating them with the blood of innocents, he's just a Guy. its Fine. but logan isnt able to see that distinction in himself, and really struggles with feeling like a monster

he needs a lot of TLC and gentle introspection to get over it, and even after he's dealt with it there will be times where he looks over at wade and needs to know. did i hurt you too badly? am i bad because i want to hurt you? am i a monster? could you ever love me when i have your blood in my teeth?

then there's the "dont touch me, im a fucking monster" days where he starts breathing heavy and getting in his own head, and he needs to be talked to nice and sweet, reminded of how happy it makes wade and how he isnt alone in their games. he isnt bad for being an aggressor. because that's what it comes down to, being the aggressor feels like an evil tainted role when its him, but obviously its not bad when WADE is hurting HIM-- a flaw in his logic that he cant see when he's in the moment and panicking and feeling like utter crap

logan getting domdrop is actually something that can be so personal

[year2000electronics]

And of course Super Paper Mario and 4. Convince me to give this game another try perhaps :]

4. …why you should choose to check out the world of this story and choose three gifs that should underline my point.

NOTE: i will be forgoing the GIF part and using pictures instead because every single GIF search result has been clogged up with mouth-breathers on the internet who have been arguing over whether SPM is good or bad and have been doing it in GIF form for years. don't believe me? search "super paper mario" on discord's gif search. you'll see it. you always see it.

oh jesus. see the thing about liking super paper mario is that there's a lot of SPM fans out there who really like the game but can't really connect a very important dot as to Why they like the game. (HINT: THEY PLAYED IT WHEN THEY WERE YOUNG AND ARE NOSTALGIC FOR IT SO THE FLAWS IT HAS IS WAY LESS FOR THEM, AND BY PROXY, ME.) IM self aware. i will never be able to hate the game, but i am incredibly aware that the gameplay can be fairly lacking sometimes. if the story doesnt already grip you, it probably wont ever be worth it to go through the gameplay. thats my bit. thats my piece.

(but then youll have people who see how SPM defenders dont like to critique it when it deserves to be critiqued and start going after stuff like "oh the story isnt even that good"? MAN WHY DID YOU BRING THE STORY INTO THIS.)

but i digress. the life of a paper mario fan is a long and hard one.

POINT THE FIRST. MARIO'S "EXPERIMENTAL" ERA.

you can argue that ttyd also fits this bill, and i think it does, but this is about SPM so im focusing on that. if the mario series has never really Gripped you or you havent really been a lifelong fan, i always think the gamecube-wii era of mario has been one of its more interesting moments. the switch renaissance has allowed a breath of creativity to come back into mario, and mario's allowed to be Weird again, but gamecube-wii mario is weird in a really SCUFFED way and i love it. the gamecube's flagship mario game was a LUIGI game where he cant even jump. super paper mario came out before mario galaxy or NSMBwii. that was our mario rep on the wii for a while. mario games get a little crazy, a little weird here. and so what you get is a more melancholic story about the end of all worlds, and exploring what it really means to be a hero, and the closest many games will get to acknowledging that the mario characters can have emotions that arent Perfect. its just such a fascinating era for such a perfectly-marketable franchise and i adore it. it's a testament to what mario can Be, for me. Mario Is Weird. say it with me now!

POINT THE SECOND. GOODBYE TO A WORLD.

i just really like the theme of All Worlds Coming To An End. usually in these sort of things, it's "save the world so the world doesnt end!" but in this game, it really feels like "the world is ending and you have to fight even to have a chance to succeed". it colours the tone of the game in such a fantastic way. many songs in the OST have a ticking clock in them. the inescapable void is even in the hub world. it's like the majora's mask of paper mario. many people talk this up but the fact that in chapter 6, you're beholden to the traditions of a silly king who REFUSES to believe the world is ending even when HIS ENTIRE SKY IS PURPLE, and youre trying so hard to beat this 100-man duel faster and faster, only for the world to end and then youre forced to go back into the chapter and see this GRAVEYARD. it makes it so much more tangible. THIS is what will happen if you fail. and this overhanging melancholy paints the themes of love so much stronger. it's not just a love story, it's a love story in adversity. love conquers all, but what is the "all" in question? well, this. bleakness. sometimes the bleakness is part of the love. sometimes you make a sacrifice in the name of love, and nobody likes it, but you know it must be. the whole game is actually a love story between bleck and tippi and it just grips me so. it's such a multi-faceted depiction of love and loss that it feels so much more real to me, that love isn't always the Magical Solution. love is a sword, a shield, a prayer, a wish, a curse, a blessing, an order, an act of cowardice, an act of bravery, a sacrifice.

(you see what i mean? i can literally only be talking like this because i grew up with this stupid ass game)

POINT THE THIRD. FUCK ALL THAT THOUGH LET'S TALK ABOUT THE BLECK MINIONS.

so, the whole kind of crux of this game is that it's a love story between bleck, the main antagonist, and tippi, your companion, right. if you can't flesh both of them out you're in a bad way. obviously for tippi, she's hanging around you all the time, and you get to hear her journey play out throughout the entire game. BUT WHAT OF BLECK? HE'S HIDING IN HIS CASTLE! how are we supposed to know more about him and learn his story if he is IN HIS CASTLE? well that's why after every chapter, there's this interlude where we CHECK UP ON THE BAD GUYS.

i blame this game entirely for my love of villains. this gang of baddies has so much quirks and personality that i find it hard NOT to love them. they're not just gormless minions of the count- each shows their own personality in their relationship with him. mimi has a puppy-love crush on him, o'chunks has a sort of warrior's bond with him, nastasia pledges herself to him and almost uses the minions she controls as a conduit for her dedication to him, dimentio is like a cat in a bird store, and mr l clearly isnt supposed to be here but i dont think he knows that. the minions bicker amongst themselves but clearly have a bond of cameraderie because it all feels like teasing of people who've known each other for a long time.

you fight each minion at least twice, and even though the lackluster gameplay kinda comes in full force again, you get to see so much PERSONALITY in these guys. mimi is super-bratty but seems to know most people would see her as a monster so leans into it, dimentio is playful and jovial while also having his own motives, o'chunks is bold and brash but asks you to finish him off the second time he fails, mr. l is cocky to a fault and reeks of insecurity. i just love having these guys we can always check up on. it's like lord crump but MOOOOORE.

and through a combo of you inferring things about these people and some of the Deeper Lore (flopside bar stories), you kinda come to learn that these minions were kinda manipulated by bleck when they were at their lowest. mimi is a failed creation of SOMETHING. o'chunks' men all died because there was a traitor in his midst. nastasia was saved from a cage by bleck. and the more you learn about bleck the more you see that he is a man grieving the woman he loved, apathetically trying to end all worlds so the pain would end. he lies to the minion, he says he aims to make perfect new worlds, and they believe him, and they love him, because he saved them.

this sort of birth of a relationship through bleck's pain and manipulation comes through by the end, as the love the minions have for bleck is a KEY part of the final act. and idk it's a bunch of deeply-hurting misfits binding together and accidentally finding love in a world they found loveless. i think thats really cool. i think THEYRE really cool. such an awesome cast of villains.

but yknow. again. this is my childhood game. the special feeling i have for it can't really just be put into words. it's my diamond in the rough and nothing can really change that. it's Home.

[ganondoodle]

one of the few zelda youtuber guys that seems to actually love totk made a video about it (i guess bc so many talked about why they dont like it) and while i didnt watch it i took a peek into the comments and of course its full of people going "LMAO people only dislike it bc it didnt validate their crazy theories!!" "its always the same when a new zelda comes out lol at first they hate it and then later its a classic haha idiots" "people who dont like it are just caught up in their nostalgia and cant accept anything new being introduced!!"

also thanking him for "speaking up" about loving the game ... which i find kinda mind boggling bc the internet is full of praise and 10/10s for it

i obviously dont want to villainize people that love totk but like .. these kinds of comments are so unecessarily judgemental? how dare someone NOT like an entry in the franchise and voice legit criticism, how dare someone not worship the game just bc it has zelda on it! CLEARLY they are just made delusional by their own fantasy and will realize later just how wrong they were! hah! those fools!

on my rants there were quite a few people who actually said they like the game but agree with alot of my views on it regardless, it is very flawed but i can also see that the good things outweigh the bad stuff for others, even if i legitimately hate it; but i also had to block multiple people bc they got so butthurt about me criticising it

and i dont think its 100% just an opinion thing either, totk, even when i disregard my personal feelings on the matter, has alot of problems, moreso than the other zeldas (each judged for how it was in their time) and in pretty much every part of the game too (story, lore, continuity, gameplay and rewards, UI-) and i think alot of it stems from its conception, they have never done a true direct sequel before and it came from a DLC idea, and it shows (though i still believe even coming from that you could have done something way better..... bc they also made botw, which seemed to prepare fertile ground for more storytelling that was all discarded for NO reason)

BUT that doesnt mean you cant like it anyway! there are some very horribly shitty games out there that are beloved by people anyway! and thats fine! i love ww and botw, both of which HAVE flaws too! and thats okay!

you dont need to be dismissive of any hint of criticism like that, there is no holy honor to defend, it just makes you look like a jerk

[malwaredykes]

I know you mostly post about fnv but I'm curious to know whats your opinion on the other fallouts?

fallout - really Really REALLY good. unforgiving, yes, takes some time getting used to. not without its flaws of course. for example i couldnt for the life of me figure out some very basic shit at first because the UI was designed by rodents i think. very Very engaging once you get past all of that. phenomenal first entry in the series. music, plot, worldbuilding, themes, major characters, mwah. mwah. They Dont Make Em Like That Anymore and there are many good reasons for it but time passed doesnt disappear so you can always play classic fallout.

fallout 2 - thing get weird. some of the highest highs, some of the lowest lows. the highs are really high though. unfortunately has a particular kind of needless edginess to it that gets extremely tiresome. "heeheehhee SECKS *begins to warp violently* heeiiuhehyehye" type. bizarrely racist and misogynistic at many points. contains some of the best voice acting moments in video game history. at many points its just very very tedious, like if with fo1 at some points i was like Well this is kinda rough, with fo2 there were stretches of the game where i was like What the hell am i even doing here Who are these people what is this crap. the enclave as this games evil fucked up faction is so great i love how theyre gradually introduced and then shit hits the fan. has a lot of texture to its worldbuilding and some really good fun moments but again it goes off the rails so much. i rly need to replay it but every time im like God do i really have time for this. i love that you drive a car

fallout 3 - weird fucking game. some truly unjustifiable design and worldbuilding decisions despite having also introduced a lot of rly good things. fun gameplay i mean its that classic falloublivionrim buggy grimy versatile ps3 pure brick ass gravel gamebryo bethesda. VERY funny to have so much of the games plot be like I Gotta Find My Dad like girl i dont care about my dad he can go die. oh wait he does. it has what i call The Martin Septim Problem and i think its kind of self explanatory. fawkes best boy hes my little birthday boy. fun to explore and do your own thing and discover whatevers going on out there. i HATE the brotherhood of steel in fallout the third. i HATE the enclave in fallout the third but i dont think it even comes close to how much i hate the brotherhood of steel in this game and what precedent it set for the rest of bethesda fallout. these creeps. im supposed to find any of this awesome? fuck no. oh also im ENDLESSLY amused by the prologue its like a nightmare sequence akskfnckxjnc. im being BORN?? ive just slid out of my mothers WOMB and CERVIX and VAGINA and theyre bringing up a screen to show her what an ugly monstrosity im gonna be when i grow up and shes like Waoww and she dies??? im a TODDLER? Release Me. Unhand Me You Fool. oh also that sequence where youre in a CRAZY SCIENTISTS SIMULATION is so stupid i love it

fallout 4 - havent played it for longer than 15 minutes (made me barfy). everything i learn about it is bizarre. like WHAT the fuck happens in that game. your old wrinkly son tells you youre stupid and dont need to know anything hes doing and then is like im dying can you take over for me??? also the intro is truly something i mean i dont mind having Some backstory to my character but youre saying i had to be straight married with a baby and living in a nice suburb, with a robot house servant? fuck no

everything else i havent played and have no real Thoughts about

[hms-no-fun]

i just want you to know that i read... i think Most of godfeels and had to stop because i was not enjoying it. but i think its really good and i really respect what you do. i think it's all too easy for people to mix up "this is not my cup of tea" with "this is bad and/or problematic". they dont take the time to see the artistry in it, why it is what it is, what it might be saying beyond their surface level read and the kneejerk reaction to it.

i also wanted to note that ive always been kind of scared of sharing fanworks for fear of writing "out of character" - and ive also even been afraid of it in original works. character isn't real and concrete, so anyone can decide something's out of character. so your exploration of that concept gives me more confidence as a writer. i really appreciate that and everything else you do. :)

thank you so much for this message! i'm glad you tapped out rather than force your way through something you weren't enjoying, that's a very mature response and something i wish more folks would recognize as a perfectly valid option. in fact i think pushing through and reading long after you've given up on the material, so to speak, is a great way to wind up angry at a writer for having "forced" you to endure such a trying experience. as i've said before, an author can't force you to do anything. you can close the book any time you like.

as far as the tension of "in character/out of character" goes, i think a lot of people in fandom struggle with the fact that "character" is very much in the eye of the beholder. sub-groups form within fandoms based on identities, politics, sexual predilections, etc, and typically gather around the fire that is their particular interpretation of a character. but from within that sub-group, it's rarely considered "an interpretation" so much as the obvious intended truth of the text. it's that intoxicating mood of finding people who share a perspective you rarely see elsewhere, like oh my god, you GET it, finally someone GETS it!

in homestuck fandom, for instance, quite a lot of people hate vriska and think she sucks, with a vocal sub-group of that sub-group still actively beating the drum that everything about her arc after [S] Game Over is the worst part of homestuck. but i love vriska, and my corner of the fandom very much organized around a full-throated defense of her. some folks think homestuck did tavros and gamzee dirty and that this is a fatal flaw in the text; when i countenance these people, i am convinced we read two very different comics. who's right and who's wrong? there are degrees. i can pull out any number of quotes from andrew hussie about the importance of vriska and the weenieness of tavros, but then, authors love to say things, and there's plenty of stories i love in ways that directly oppose to the authors' stated intent. the debate can never end because we are only ever talking about the version of a character or story that exists in our heads, based on the things that stuck with us when we read the thing (however long ago that was-- which is important because i find a LOT of people adamantly defending their headcanons haven't read the source text in a number of years. as time passes, your perception of the media you've experienced in the past morphs and distorts. someone who was right five years ago can be wrong today and not even notice the difference).

something i've realized in the last year is how much godfeels emerged from a very specific milieu, not just in terms of how we interpreted certain characters but in our approach to analyzing and talking about the text altogether. i believe most of the important stuff in godfeels is "in character" in most of the ways that matter, but it's built on a very specific meta that centered vrisrezi and transness and radical leftist politics and experimental hypertext. really, it's a post-Epilogues fanwork even despite the fact that godfeels 1 predates their release by a few weeks. and i think to this day a lot of homestuck fans haven't read the epilogues but have read fandom posts about how terrible they are (quite a lot of which will have either been written by teens, by people who already didn't like homestuck very much, or by one of the regressive stalkery weirdos prominent in the homestuck reddit/discord), and that misapprehension keeps them in the dark about just how many amazing tools the epilogues introduce to the homestuck formula that exponentially expand the expressive possibilities of attentive fanworks. and it of course elides the fact that the homestuck epilogues are a story about being in your 30s. i think we'll be getting a big re-appraisal of the epilogues in 5-10 years. it'll be the "twin peaks: fire walk with me" of homestuck, just you wait.

so these readers see my version of dirk being an unhinged murderous dick to a newly-out trans woman and go "he would never do that." then if i point at the epilogues, they'll say "i didn't read them/they're not even canon/that wasn't in character either." at which point there's nothing really to say, because we have two completely different perceptions of the text. who's right and who's wrong is almost always infinitely subjective, a circumstance that humans are notable for being very good at handling in a mature and politely discursive manner.

so i've got an "author's introduction" to godfeels baking in my docs to provide some context about the meta this story is built on, the milieu it came out of, that sort of thing. it won't make much of a difference in practical terms, but it'll at least be something i can point to.

in any event, thanks for this message. all i ever want is for people to give it an honest shot. i hope you can continue harvesting confidence from wherever it can be found. it takes a lot of audacity and backbone to be an artist, especially when you have something worthwhile to say. remember that you're not writing for the haters, you're writing for the kind of person, like you, who wants to see more stories like the thing you're writing. they're the ones who'll get it, they're the ones who'll stick around long after the haters have lost interest.