#i feel like a lot of my general interests end up having roots in my interest in learning the evolution of things

[fettiowi]

I really, really love getting to learn about the history and evolution of things. i feel like a way to get me interested in any particular topic is to get me invested in learning its history. it fascinates me more than anything

[itsonlydana]

Find a cure for my heart | hobbit

pairing: Thranduil x human fem!reader 👑

On the eve of the battle, you and Thranduil spent a night that spurred a flurry of letters while Dale grew as a city and you both grew too, first apart, then closer again. However, you couldn't bring yourself to burden him with the truth that your health was deteriorating with each passing day.

warnings/tags: sickness, angst, mentions of death (reader is actively dying but only realizes after Thranduil helps) hurt/comfort, happy end

words: 5,6k

an: finally finished this fic after working on it since January. If you are interested in being tagged when I post new fics– comment that under this post or send it to me in my inbox!

+ masterlist + rules

🌿 reposts and comments are appreciated, they motivate me a lot and keep me writing <3

Contrary to general belief, the elves did not return to their forests immediately after the battle.

In the stories told, there would be remarks, on how the Elvenking offered his help to the yet-to-be-crowned King Bard once more, bringing aid with however warriors he had left for disposal to search the endless chaos and ruins of Dale for survivors until many sunsets later.

They would speak about the sorrow of losing friends and family and neighbors to a war that had been won at costs no one could comprehend yet, and they would mention how the great Elvenking guided them through the darkest of nights for he had experienced this all before; the grief, the helplessness and the colossal question of What now, who's to say we haven't lost ourselves as well as those we have to bury?

Many had their own experience with the Elvenking, whether it was a hand pulling them off the ground, a loaf of bread delivered to them after days of fighting, or a warm blanket to huddle under to finally lay their body to rest under the watchful eye of Elves that had sworn to protect them.

You had your own story. A different one.

But it wasn't one with the Elvenking, no; the night before the battle, where the air was filled with the sound of blades being sharpened and children crying for their parents, you had met Thranduil, King of the Woodland Elves but most importantly: a set of strong arms that caught you as you stumbled out of Bard's tent.

You needed to run away from the discussions over how to draw the dwarfs out of the mountain.

You'd been a friend to Bard for many long years but standing in that luscious tent, being offered wine as the Wizard, Bard, and the Hobbit pondered over what was about to happen while you weren't sure your mind caught up on what had happened already, there was no room for friendship inside your panic-riddled chest.

Just as you flung open the tent flaps and tried to dash away to get some air, your foot caught on a root, and had it not been for Thranduil's fast reflexes, you surely would've planted your face into the dirt and mud.

Up until now, you had no idea what had transcended between the two of you at the moment where his arms held you up, his softening face looking down at your widened eyes filled with tears and your tongue too tied up and heavy to say anything other than: "Air– please"

Whatever it had been, likely an unspoken wish – by Thranduil or you, or maybe you both; it didn't matter – for someone who would not pass judgment over the urge to disappear from your skin and role and crown for one night, a fallen star flung across the darkened skies at the right time.

It felt as though Thranduil had pulled a sheet over your heads; your world narrowed down to this other soul and how beautiful and divine his body felt on yours as you found a way to survive the night before life as you knew it turned once more and the solid ground beneath your feet shifted and broke.

A few nights, while unforgettable and brooding with feelings neither of you admitted to, did not change that you had to move on somehow.

Although the Elves did not depart for Mirkwood immediately and Thranduil and you were given time in the aftermath to find the other in the cover of the night and under the pretense this was nothing more than mere distraction, a wishing star could only do so much shining before dimming out.

The day you awoke to a sunrise bathing the debris of Dale in a pinkish and warm light, pillars being rebuilt dipped into molten gold, and the cracks glued together, Thranduil's strong arms were wrapped around your middle as if he wanted to hinder you from sneaking away, you knew it was him who would leave you before the day was over.

And so he did.

Sunrise came and went and soon enough all the tents were packed up on horseback and wagons, leaving flattened grass as the only reminder they had been there at all if and there were goodbyes, political between Bard and the Elvenking who parted from the weary man and his children with the promise of support, and between you and Thranduil in the form of a slow nod.

Thranduil sat high on a dark stallion, dressed in silver and long robes that hid fingerprints that spoke of an attempt to cling to transience. His chin lowered, though his eyes were fixed on you.

You knew that nod carried the conversation you had whispered into the morning mist.

And it was all that wasn't said that motivated you to step away first and turn your back on the caravan that took away a King and a Lover.

There was much to do, the looming task of building up Dale needed everyone's full attention, and that included you.

Especially you.

There were houses to plan, accommodations to be made so that no one needed to sleep under the stars.

No one could ever pry the reason why you were keen on getting a roof under everyone out of your hands; a lonely part of you wanted the stars to remember you and Thranduil lying in the grass. And no one else.

The first letter arrived a few weeks after you hadn't had the heart to watch him go and threw yourself into one task after the other, dismissing even the smallest hint of sickness, like the heaviness inside your chest every time you lifted something heavy, or tiredness crashing down onto you in moments to catch your breath, to continue working, that you wouldn't find a moment to admit how much you missed him.

That utterly ridiculous mindset stopped as soon as the messenger Elf rode into the city and hand-delivered you the first of many envelopes with the nearly indecipherable handwriting of Thranduil.

Or the Elvenking.

Because the first letter, despite being addressed to you as well as Bard, who wouldn't have been able to read it in the first place, was a list of things the King would send and a question of what else was needed that he could provide.

"It's fine," you said to Bard through a smile that didn't reach your eyes as you read aloud the letter twice, from the greeting to the last paragraph that was signed 'the Elvenking Thranduil Oropherion, Lord of Mirkwood and friend of Dale'.

In the flickering light of the candle dripping wax onto the table between you, the dark circles under Bard's eyes were all the more prominent than when he was running around the city and there was a bottomless pit in your stomach that wouldn't want to add to the many things he was already worrying about.

"It's totally fine," you said to Bard when he asked if you had skipped over a private note from Thranduil or if there truly wasn't one (there wasn't, you had turned the letter over and over in your hands until the edges became soft and wrinkled) and you both knew that to be a lie.

You answered the letter in the same professional manner because even though you wanted to, you couldn't send a letter to a King helping however he could and expecting nothing in return with a smeared "I wish for your heart and our nights and for your voice to tell me we are alright" written under tears in another sleepless night.

The next few letters follow the same pattern, Elvenking Thranduil Oropherion would inquire if there was anything Dale needed and answer Bard's question on leadership and share his knowledge of what was fundamental for a new King, and you would write for Bard on the other side.

The weeks passed and so did the hope of rekindling that fire you had thought to burn in the both of you.

That Thranduil didn't see the need to reach out was a punch to the gut that left little room for anything else but disappointment of putting your effort into pulling on a rope that wasn't attached to something on the other end.

Why waste the dwindling energy of your exhausted body on someone who would live longer than the memory of you?

Every time a new letter arrived by messenger you would find Bard until one late evening you opened the letter by yourself and saw your name written in that beautiful sharp handwriting, not Bard's added in front or behind; only your given name and not your title.

Your hands shook as you stood in the frame of what was to be your house and the ink glued together the cracks of your heart.

'Forgive me for not writing to you sooner and for how sentimental I must sound. It has been weeks since I last saw you and every time I wander through my familiar halls, I find there is no soul around that could understand me how you did, whom I could tell what plagues my mind. The time we spent together has not left my thoughts. Neither has the promise to not grow apart too much and I apologize for not contributing to that. Now, if you would still have me, I would like nothing more than to hear how you are faring. As for me…'

Nothing had the power to stop you from running off that giddy feeling that spread through your chest as Thranduil, finally Thranduil, wrote about the happenings in Mirkwood; not even the cough that sat deep where suppressed laughter spilled into the grass you fell into– the letter clutched into your hands.

Thranduil and you fell into a routine then, one that was no obstruction for the many tasks at hand but made room for each other to hold on to the promise.

You would send out two letters, one on behalf of Bard whom you taught his signature as well as a few more words every fortnight you sat down together, and one addressed to Thranduil, filled with all the thoughts that ran through your mind that you wanted to tell him.

It was by no means as precious as the talks you had now many weeks ago, not when there were days you had to wait for a response instead of seconds.

You appreciated them all the same, every bit of himself that Thranduil wrote into his messages was countered with a confession of your own.

When he said he wished to know where his son had disappeared to or rather if he followed the direction Thranduil had given to him, you admitted to the nightmares that still plagued your mind, the dreams of fire and a monster that still rested in the lake.

You offered piece after piece, chipped bits of your heart into every letter that you sent away, and after a few weeks had passed, and Dale was taking shape with its houses raking their roofs to the sky and its people planting seeds and flowers, rooting themselves into what now was theirs, there was not much left of your heart that was completely yours and not Thranduil's and the letters of his proved that the same could be said about him.

What you did not mention, not with one drop of ink, was that the nightmares were no longer confined to the few hours of sleep you fell into.

There was a dragon, not just in the cold lake where your old home lay in ashes and was drowned in the ruthless darkness, but by the heavy weight on your chest, it felt like there was one inside you as well.

You were coughing as if there was smoke blocking your lungs, blackening out what little air you heaved for when a coughing fit took over your whole body.

It started small, a cough then, a sleepless night there; both accumulated to an uncountable amount and it got only worse as the season changed and the autumn winds lost their last warm touches and the trees bared their wooden arms.

You waved it off as a common cold, nothing that would hinder you from your tasks to becoming a liability the city didn't need in its time of growth.

Then, the coughing got worse, rougher, sometimes taking your voice for a moment until you found some water although that only helped for a small moment, like trying to extinct a burning building with just the water your bare hands could carry.

The worst part was the blood that stained the cloths, the sweats that not only held you awake at night but weakened you at day as well.

"I'm better!" you promised Bard on a night when he had to sit next to your bed, wringing out the cold cloths that lay on your fevered forehead.

His voice was a low whisper when he dabbed away the sweat, pushing your wet hair back with hands that were far too gentle for what you deserved for rotting in bed and not pulling your weight, "You're not, an' that's clear for everyone but you. Did you tell him?"

"Yes," you lied through your teeth, eyelids dropping close from exhaustion but you knew sleep wouldn't come, "he said it would pass, nothing to worry 'bout."

Three days later you were on your legs again, if not a bit shaky and needing more breaks than ever.

You sat in Bard's kitchen, a warm bowl of soup in front of you that tasted like ash and firewood, and ignored the silent pleading in his eyes to tell him what was going on and why you could barely lift the spoon of a soup that you clearly did not enjoy.

Winter wore your body down like rough sandpaper on soft oak, the cold winds and dark hours an enemy far worse than what you had to encounter on the battlefield. This had no logical explanation, nor was there an enemy you could see.

Your own body betrayed you and you had no idea what you had done to deserve it.

You knew that somewhere was a solution to it all, that was the string of hope leading you through the snow outside and the fire in your blood and bones, singing down what little fight was left on the days when the sun pushed away gray clouds and you felt normal and healthy.

The sole reason why you lied in letters filled with otherwise honesty as pure as heaven's snowflakes was that you did not want to be a bother.

Thranduil wrote how much of his time the dwarfs and their trading demands swallowed; he did not need another burden and you would be damned if he came because you had a small cold you couldn't get rid of.

You had promised Thranduil to visit him in spring when the soil was rich enough for the seed to take and the livestock could roam the meadows. If you weren't better by then you would ask him.

Until then work demanded all of you. Even if that was through a white knuckle grip on the last bits of health in aching bones.

⸺

Spring brought forth daffodils pushing through the cobblestone streets. Tilda, the youngest Bardling and a wonderful distraction on the days when getting out of bed was the hardest bounced excitedly beside you and pointed at the flowers.

"Like stubborn trumpets proclaiming winter is finally over!" she said as you followed her outside. "Spring is finally here!"

You disregarded the pain echoing through your body, the weight of guilt forcing you to spend the day with the girl.

She had been knocking on your door every morning, angelic eyes asking if you wanted to come and play with the lambs that she had taken too and this morning, you couldn't disappoint her.

"Aren't they just so pretty?" Tilda crouched down, gently cupping one of the blossoms in her small hands.

Lowering your gaze from the burning brightness of the sun you got a short glimpse at the yellow dots decorating your doorstep.

Then, suddenly, black spots appeared on the edge of your vision, taking you by surprise though they have been your companion for the better part of the last few days.

"Tilda–"

You tried to hold on to your doorframe, bruised hands frantically searching for a grip on the warm wood but they slipped and caught only the edge.

The last thought that crossed your mind was that you should bring Thranduil some of those flowers before you blinked and crumbled to the ground.

⸺

You woke up to the confusing taste of grass on your heavy tongue and the dizzying realization that you were not spread out on the street but tugged inside your bed.

Above you, moonlight fell through the opened window in the slanted roof above your head and you immediately closed your eyes again.

This had to be a dream.

Though your dreams had not been like this in a long time.

Peaceful. Comfortably warm. Silent except for the croaking of toads, the buzzing of insects outside, and the laughter and clattering of your neighbors probably enjoying the night more than you.

A groan passed your lips as you tried to sit up; a seemingly impossible task with the heaviness of your bones as well as the mountain of blankets that covered you.

"What do you think you are doing?" a voice you knew all too well sneered.

For a second you thought it to be a hallucination, a projection or your dazed mind still lulled in the fog of unconsciousness.

The bones in your neck cracked as your head snapped to the other side. There was no way you did not imagine the tall figure that should be across the woods in his palace; not in your bedroom.

"What are you doing here?"

"Merely strolling through the neighborhood," Thranduil's voice dripped with sarcasm, yet a subtle tension marked his stance beside the bed. "Now, enlighten me. Did you conveniently forget to mention this sickness in your letters?"

Ah, straight to the point.

"It's trivial," you waved it off, attempting to assert yourself by sitting up.

Naturally, consciousness promptly slipped away once more.

This time you were not that surprised by the sharp taste of grass on your lips when you came to your senses once more, pushed back into the pillows that had never felt this stuffed. You were still unable to move your leg more than from one side to the other under the blankets and Thranduil was still there, glaring at you through dark furrowed brows and hardened eyes.

You wanted to say something to break the heavy silence but all that passed your lips was a giggle that was more desperate and closer to insane than amusement.

One brow lifted. "Oh, how glad I am you are entertained by this," said Thranduil. He was as rigid in a frightening calm way but all of that was overshadowed by the cloud of confusion that muddled your thoughts.

"Noo," you drew out the word and continued giggling. This had to be insanity. "You jus' look very out of place here – wait. Turn around? I need to make sure you're really here."

He didn't fit into the cramped space of your house, his fine clothing stood out against the poor backdrop of crooked furniture, used towels hanging over stools, and the small layer of dust that covered the areas you hadn't been able to clean in a while; which was most of the bedroom and you didn't dare think about the state of the kitchen.

Where he deserved a throne out of gold you could only offer the chair next to your bed, the one that was crooked and leaned heavily to one side.

That being said, nothing took away the sheer amount of power he radiated.

It easily filled every nook and cranny or tight corner of your humble house, his voice as well as the image of Thranduil, King of the Elves, towering over your bed in long robes and bathed in the light of the night sky, glittering silver like the moon knew the importance of the Elf in front of you.

Thranduil remained stoically still. "I will definitely not do that," he said. "I am here. Where I should have been a while ago."

The accusation would have hit harder if you weren't drugged up on whatever medicine he had apparently fed you while you were out cold.

You shrugged your shoulders as well as you could with your arms bundled under the blankets. "I saw no reason, it was just a cold. Nothing I couldn't manage."

Well, you hadn't managed to handle it, that was the worst realization of the whole lie.

"Clearly," Thranduil said sarcastically and ground his teeth against each other. His arms were behind his stiff back and the way he tilted his head down to you made you feel like a child being admonished for bad behavior. "Do you know how much despair I felt when Bard's letter arrived this morning?" His voice was even but there was a resonance in it – a deep rumble akin to the ominous approach of distant thunderstorms over the sea. "Nearly indecipherable scrambles where he begged me to come; telling me that you have been asleep for two whole days?"

A crack in the form of a small tremor broke through the mask of the all-mighty Elvenking.

"This morning?" you asked, caught up by the first part and ignorant of everything that followed after, and you huffed while running the calculations through your head. "Thranduil, this can not be, the journey is not manageable in one day."

"Is this truly the point you consider most important?" He closed his eyes as a pained expression passed over his face. "You deem it impossible, yet I assure you, nothing could have hindered my arrival here; the boundaries of possibility, for once, were not a barrier but an aid. It reveals your scant regard for your circumstance if your worry fixates on my journey through the land. Not on the sickness that nearly stole you from this world. Two days –" Thranduil took a deep breath, "two whole days where those around you had no idea if you would ever awake again."

"But –"

"No, you can speak when I am finished," he commanded sharply. "You were reckless. Ignorant of your health as if your life was not precious." Thranduil spat the words out cold yet they burned. He was blind to the way you flinched and lowered your burning eyes to the blankets.

You shrunk deeper into the pillows, a hollow ache inside your chest that had felt empty from the pain ever since you awoke the first time.

"But –" you repeated helplessly. This time, he allowed you to continue and you did so in a whisper: "I didn't want to be an inconvenience."

"An inconvenience?" he sneered back at you, the flickering lights of a few burned-down candles casting shadows over the creases of anger edged into alabaster skin.

He took a step toward the bed and you saw a twitch in his lips that had you blanching.

The fury brooding inside him was not new, you had seen it on the battlefield before. In ice-cold cuts of his sword as he flawlessly executed the most brutal movements while his face resembled a mask of the most dangerous kind of rage – stillness.

Now, there remained little of that stillness.

"You were a greater inconvenience by nearly throwing away your precious mortal life, all because of your unfathomable stubbornness!"

"There was lots to do!" you snapped back. Shortly but surely, you were fed up with his anger and the insults he was throwing at you. "This town was suffering far more than me and don't you dare tell me I'm wrong," you had to bury your teeth into your lower lip to stop it from shaking. "Dale needed me!"

The pale skin was flushed red around his heaving chest and delicate ears. "And I do not?" Thranduil road and his voice boomed through your little bedroom loud enough for the cicadas outside to fall silent.

Immediately, your eyes watered. You felt trapped under his gaze, engulfed in pure heat hotter than any dragon fire.

You searched for a response inside you but found none.

All there was was chaos – the loud beating of your heart against your chest like iron being beaten and shaped though all that was formed was pain sharp like a sword edge; cutting through the layers of protection you had wrapped around your heart.

Thranduil slightly lifted his nose, staring down at you through thick eyebrows and a clenched jawline. "You were dying," he said and his nostrils quivered. "I can not fathom how you through that would not have been a greater inconvenience.

His expressions made up in sound for the lowered voice he'd used to speak about what you previously refused to acknowledge.

Never before had you seen him this out of control of his emotions, not even on the nights he had bedded you where he still had a hold on himself.

The way he stood before you, dressed in fine robes not fit for riding, the hem of them stained by dirt, his boots muddy, and his face full of anguish, it was as if he could have been kneeling at your feet.

You ignored the tears slipping silently down your cheeks. "It wasn't that bad, was it?"

"It was indeed, and far beyond that."

The tears made it impossible for you to continue looking at him and your head dropped down as a sob broke through you. "I didn't know," you panicked, "It didn't happen fast so… so I thought it'd pass but – and then it got worse and worse and I was so afraid to speak to anyone about it." The words tumbled into your lap, where, under the blankets, your hands were balled to fists now that the strength to do so had returned to your body, "I – I couldn't," the night air stung as your breaths turned into gasps, "They – Bard was exhausted and –"

Thranduil's face softened ever so slightly, pushing away the furious frown. "You are too pure for this world," he said quietly and – dealing a fatal blow to your ever-fragile heart – slowly went down on one knee next to the bed until you were eye to eye and his cold long fingers could gently caress your wet cheek.

He stopped, most of his fingers covered in the glistening tears he'd freed you from and his thumb rested on the plushness of your lower lip. "The world would have lost its sunshine had you perished," his robes rustled as he drew closer, silver hair falling onto the blankets like stars flying across the skies, "You must promise me to be more careful or darkness shall be my companion from that day on."

How could you do anything else but break into tears once more?

They flooded your face too fast for Thranduil to catch them with his hand and he did what seemed more reasonable yet utterly out of character: he rose to push away some of the blankets and sat down on the mattress.

While his face showed some revelation of his thoughts at the meek bed of hay that surprised him, he said nothing except for a lowered: "Hush now, shh." while his arms found your shaking body and pulled you into his side.

He cradled you until there were no more tears to cry, until your cheeks hurt and your lashes clung together awfully damp, and then some more, his hands on your back, cooling down the firing heat that spread through you and the other in your hair. With tenderness, he massaged his fingertips into the areas where your head throbbed uncomfortably.

You cried for all the nights where you had suffered, drawing closer to a death you hadn't seen coming.

You cried out of relief that this was finally over, that you could breathe and inhale only the rich scents of Thranduil instead of smoke.

You sobbed uncontrollably long into the night, not caring one bit that by the time the wailing grew quiet and exhaustion rendered you weak enough to fall into his chest even more, Thranduils robes needed to be padded dry.

"Thranduil?" you asked and burrowed your nose into a spot of fabric that wasn't salty. "Can you tell me what was happening to me?"

He didn't start directly. Thranduil waited, his heart stuttering for a second that made you marvel that the muscle was affected by you at all despite the many proofs he had laid to your feet.

Were it not for the pounding headache you fostered and tried to push away by shutting away all the lights and leaving your eyes closed, you would have looked at his face to check for those minuscule expressions he only showed to you.

"At first I could not figure it out," Thranduil admitted at last and his previously stilled hand continuing the circular movements against your scalp, gathering hair between his fingers, "and that frightened me more than anything else. There was not a scratch or a wound, nothing that explained why you were hardly–" he flinched and his other hand held your waist tighter, "hardly breathing. Bard was the one who explained how much you fought against this illness all winter, ever since autumn to be precise. He spoke of the meals you denied, the coughing and shaking, the blood-soaked cloths, and how.. how you rarely slept and if you did, he told me he heard your whimpers and sobs whenever he passed your door."

"He noticed it all?"

"He loves you," Thranduil said, "He loves you just as much as his offspring."

You shut your eyes even closer, turning your head more into his chest as another layer of protection against the feeling of pain that flinched over your face like a stone skipping on water, leaving ripples of agony at the memory of the many times Bard had pleaded you to talk to him. "I never wanted him to hurt at my expense."

"He is aware you thought it to be better this way," Thranduil lovingly stroked your hair – and it was love, soft and beautiful like the elf who abandoned his kingdom to race to save you – "To go against his word to you declares him a strong man and leader, Dale will flourish under his guide and your gentle hand will provide your people all they will ever need."

"So what was it?" you asked the question eating away at you, "This sickness?"

Thranduil's fingers twirled a lock of hair as he hummed lowly, "The beast in the lake is at fault," he said, "and its body infesting the in any case dirty water that you used to still your thirst."

You lifted your head at that, staring up at Thranduil whose gaze was already on you. "The dragon?" you repeated perplexed, "I got sick because of that damned dragon?"

Thranduil nodded, "I sent out the order to have its carcass removed this instant, so no one else has to suffer this fate."

You drew your eyebrows together, the hard crease between them immediately found by Thranduil for him to smooth the frown away with his thumb and a soft click of his tongue.

"So I was the only one?" The conclusion was confirmed by another nod that sent you down another spiral of confusing thoughts and loose threats of a riddle that made no sense to you.

"A mystery," Thranduil said as if he could read your thoughts, "There is no explanation as to why you solely were affected and quite intense at that. I was glad to have brought Asëa aranion with me – although you required more than a handful until your heart finally calmed."

In a moment of contemplating silence, you barely managed to stifle a yawn.

Now that your body seemed to be fine again, all your muscles yearned for the sleep that had evaded you for the longest time.

Thranduil's pleasantly warm body around you lulled you into a state of calmness, his body heat and the memories of his touch you replaced with the feeling of his strong chest in your back, and his hands threading hair through his fingers.

He was curled up in your bed, in your home, not some tent under the stars though you could see them if you looked up and through the window.

As you did so, your eyes didn't travel further than Thranduil and the watchful look on his face.

"You're as beautiful as the day you left," you remarked in a whisper like a slip of your tongue but you meant every word.

While your body ached and wore new scars his hands and mouth hadn't explored yet, he could've been away for a day or less.

You lifted a hand to stroke over his left cheek, over the faint scarred muscles that you knew by whispers hid what he deemed hideous.

Thranduil caught your hand before it reached his cheekbones and his lips pressed a light kiss against the calluses, the signs of hours of work.

"Rest, meleth nîn, you need it."

There was no denying that the elvish words had meant something important, that was clear by the way his tongue had wrapped around the words and breathed them out like a kiss but his lowered lashes and downturned lips hindered you from asking what he had said.

This was not the time to question what was probably just for him.

Later, when you were not falling into the depths of sleep cuddled against Thranduil's chest, when you would step outside your house with his looming presence in your back ready to help you with every foot you set on the grounds, there would be stories awaiting you.

Stories of the Elvenking storming into the city on horseback and all alone, the wind seemingly carrying him faster than possible and the fury and worry on his face lowered all citizens to the grounds as he yelled for their King.

They would speak about the way he nearly broke down Bard's door and how he carried your unconscious body in his arms to your house, demanding for the crowd to make themselves rare before he had them all seized and locked into his halls for obstructing his path; and even though he had no authority, Bard was close on his heels and no one dared to object.

You would hear about the day he sat by your side, caring for you and barking out orders for more water, not the one from the lake but from the springs, and how Bard and his children were the only ones allowed to visit – explaining the yellow flowers that took up every single glass your house had to offer.

Thranduil would tell you the meaning of the words he had said that first night he had spent in your bed, fully awake and watching your sleeping form in his lap until the birds woke you up in the morning; and he would say these words on all the nights that followed.

With him in Dale, or you in Mirkwood – never apart from then on.

[sophie-frm-mars]

Hi, ex-supporter here. Genuinely hope you’re doing well. I have been tempted to start up my support again because you genuinely are a talented writer/creator and I do enjoy your work.

I hope you understand supporting your Patreon is somewhat fraught. Your private life should be none of our business, but sadly it is relevant here. Moral action, both private and political is central to your work; you have called out plenty of people for abuse & morality drives your politics. We know abuse took place on your end, but that’s all.

A lot of people like myself might be emotionally rooting for you to bounce back from this, but are unable to support you right now because that moral dissonance has not been resolved. We really don’t know if you are like other ‘cancelled’ leftist influencers and just use leftist values to deflect attention away from abuse, or you are actually trying to do better and working on yourself.

You don’t owe us anything. However, many of us who are eager to support you are forced to hold back because trust has been damaged, and there has not been any real sign of reparation or reconciliation. Maybe you think those kind of questions are invasive, maybe you don’t think we are real fans for not sticking by you despite the allegations.

I don’t know, I just want you to know that there are plenty of people who do want to support you, but feel they need to trust you first. And that can’t happen without addressing some things.

Anyways, best wishes. Take care.

Hiya, thank you for speaking to me on this.

Before I say the rest of what I say I want to be clear that between me and the people I was involved with in 2023, there were some instances where I was responsible for harm, there were instances where I received harm and there was also a general pervasive ecosystem of harmful behaviours in the community I was in. This includes people who signed the statement against me, and in one instance one of them did something which everyone to whom I have described it has agreed is sexual assault, though there is more besides.

For the time being I'm not talking publicly more about what happened because it was a very messy situation, and although I have been seriously harmed by issues in my personal life being litigated in public in this way, I don't want to give my full account of my relationships with everyone involved because I don't want that type of harm to be done to other trans women. There are plenty of complicating factors as there often are in real life that social media isn't really capable of parsing. I have made it clear repeatedly that I am open to hearing anything that people involved want to say to me, and I talked in this post in January about that and about what I would be doing to ensure that I put in the work and make sure I don't cause harm like it again

https://x.com/sophie_frm_mars/status/1745414530455261531

I think that that post says everything I would like to say for now, although I regret saying I agree that my behaviour was abusive, because with more distance and perspective I don't think abusive behaviour was actually described to me.

As I understand it via the support that my therapist and friends have offered, my problems in 2023 were that: I wasn't taking my mental health seriously, I didn't learn good kink practice, I had very little appreciation of my own boundaries and when I shouldn't be doing something that someone asks me to do, and I was high basically all the time. I am in therapy and doing DBT and taking my mental health deadly seriously, I have done a huge amount of reading assigned by my therapist about kink, sex, relationships and mental health, I am working in an ongoing way on learning how to effectively communicate, know my boundaries and understand myself well enough to not be in the kinds of situations that risk harm, and I'm no longer high all the time.

(If anyone is interested in those book recs, so far I've read: Tomorrow Sex Will Be Good Again by Katherine Angel; The Right To Sex by Amia Srinivasan; Screw Consent (I hate this edgy title) by Joseph Fischel; Playing Well With Others; The Loving Dominant by John and Libby Warren; I Hope We Choose Love by Kai Cheng Thom; The New Topping Book by Dossie Easton and Janet W Hardy; and Dissociation Made Simple by Jamie Marich. There have been some others, and I've written a bit about them in the book club channel on my discord as I've been reading)

I haven't heard from the people involved. The last I heard from anyone was one of my exes calling me a pathological liar and saying that they just want to move on with their lives, so while I'm doing the work to make sure I act better in future I am just trying to get on with my life and let them get on with theirs. I hope this clarifies why I have not talked further about the situation.

I will say that the last few months have been hellish for me. I have been frequently suicidal, I spent Christmas and new years alone, I lost a tooth because I couldn't afford proper dental treatment, people from within the community I've been ostracised from have been putting pressure on my remaining friends to cut ties with me, Keffals had my abuser on her twitch stream, a bizarre exaggerated and monsterised version of my personal life has been publicly gossiped about by trans people, fash and "leftist" drama streamers alike, I have been doing other work to make sure I can still pay rent and afford my bills and my HRT, and to survive. As I've been getting more stable and more able to focus on things besides this, I've been working on new writing because all I want with regard to my work and my channel is for my writing to help people. I don't want to talk about my private life, but I do understand that some number of people will feel after what has been said about me that they can't move forward with me without hearing the full details. Lots of people in my life have repeatedly encouraged me to publish a full account of everything that happened but I know how the Internet works and I don't want other trans women to be harmed in the ways that I have been harmed.

[wakkass]

It's impossible to put into words how much I love designing characters, especially for AU.

Yes, I recently had an avatar AU, and I really wanted to draw Katara from there (and also Zuko). I usually draw a static pose in order to display all the details of the clothes. This is such a kind of character sheet that helps me to better imagine the scenes in my head.

If you're interested in reading about the AU itself, then there will be some information about it.

I apologize in advance for mistakes in the text, English is not my native language. But, I hope, this will not interfere with understanding.

In general, my AU concerns the ending of the series, because at some point it seemed unrealistic to me. There is too much positivity with the obvious problems of the post-military space, as well as little logic in some moments (for example, I don't understand what Zuko was doing in Ba Sing Se. Did he abandon his newfound throne to the mercy of fate with the risk of a palace coup? Did he not feel the effects of a lightning strike? The longer I think about it, the surreal it seems to me).

At some point I thought, "this is all like Aang's dream, in which everything is intentionally good. As if this is the ending he wants, but it's unattainable." And then it dawned on me. But it really looks like his fantasy about the future after defeating the root of evil. This explains why Zuko recovered so easily, why everyone is just relaxing and having fun without a drop of post-trauma. Because Aang wants everything to be so naive and simple after defeating the Fire Lord. Because he's dreaming about it.

I know this is a very hackneyed narrative technique. It's pretty easy to say "this is someone's dream" to deny any events. But I found it curious, especially against the background of the episode "Nightmares and Daydreams", where Aang's dreams already simplified the reality around him. For me, it's like a lead-up to the finale, where he actually sleeps.

You ask, "but why is he sleeping?". I also asked this question, and the answer to it killed me. Because during the battle with Ozai, when the stone hit Aang in the wound, he fell into a coma. His body was paralyzed because his brain perceived it as a repeated lightning strike, again fatal. The avatar's state was the only one that did not allow Aang to die, but only to fall into a coma. And instead of an epic battle, we have a little helpless boy spending a huge amount of energy just to maintain his life.

The second Aang collapsed, he disappeared, leaving Ozai alone with the remnants of his temporary power. And no one else saw the avatar…

I'll leave the intrigue for you about this, but for now I'll tell you about the concepts from the art.

Naturally, everyone searched for Aang, and, naturally, they did not find him. Katara and Zuko were the only ones who did not participate in the search, for several reasons:

Zuko was rehabilitated for a very long time after being struck by lightning, and Katara nursed him (I'm sure there are a lot of fics about this topic. The only difference is that there is no romance here. The focus of my AU is not on it, but on the problems of the consequences of the war). He survived, but he had major problems with his heart, digestive system and spine. Who noticed the cane in his hands? Yes, Zuko couldn't walk without it. From now on and forever. He was physically unable to leave the palace, and Katara maintained at least some of his condition.

Even after Zuko's rehabilitation, it was necessary to keep the power in his hands. Imagine what a shock the Fire Nation experienced when not just the former Fire Lord was overthrown, but the country's policy changed dramatically. Now Zuko needed to keep power in his hands and establish a new regime as soon as possible, before his opponents raised armies and people against him. This boy, who recently sat quietly at a military meeting, needed to show unprecedented strength and power to everyone: both officials sought to turn the situation in their favor, and the people who wanted stability and prosperity. But how to do this if Zuko couldn't even breathe normally, and getting out of bed required tremendous effort? It was impossible… Anyone else would have given up, but not Zuko. He has never given up without a fight and has never turned his back on danger, even if he risks dying.

It hurts me a lot for him, too. Fate has never stopped pushing Zuko against obstacles, but this time he couldn't rely on himself. He almost couldn't bend, his body almost didn't obey. He was an easy target and there was nothing he could do about it. This helplessness irritated him, saddened him, oppressed him. The only thing that wasn't broken yet was his spirit, and Zuko was barely able to maintain it in such conditions. If it wasn't for Katara, I don't know if he would have coped in the end. She was now his only support, his only ally in these cold oppressive walls, the only rational grain in his doubts.

You ask, "Where is Iroh? Where is Mai?"

Iroh, along with the White Lotus, took on a mission to liberate the Earth Kingdom from the Fire Army and establish relations with the kingdom. In fact, Iroh now shared power with Zuko: uncle was engaged in foreign policy so that his nephew could focus on domestic policy.

With Mai, everything was much simpler: after getting out of prison, she was completely disappointed in the guy who always left her. She sent him a letter, where she finally ended their relationship, and left with her family somewhere far away. Perhaps she and Zuko will cross paths again and will be able to establish a relationship. But not now.

Katara remained to help Zuko not only with treatment, but also with his policy. As a resident of an almost disappearing tribe, as well as an able leader, she helped him with projects and plans to improve the quality of life of the population and actively participates in them. She performed those missions that Zuko can only entrust to her. After all, she was a friend he could rely on and to whom he could open his feelings.

In her design, I wanted to reflect the combination of two cultures: Fire and Water. I was based on the designs of the "12 Kingdoms" (if you haven't watched this gorgeous anime or haven't read ranobe, I strongly recommend doing it. This universe is no less interesting than the avatar's world, I'm sure you'll like it), because the palace intrigues and the plot with winning the respect of the court reminds me very much of the story from there.

One day Zuko's legs finally gave up, he could not get up. All the stress he was going through was breaking his body so much that at some point the Katara's treatment stopped working.

It was a very difficult moment for both of them. Zuko has just started to promote his ideas and defend his rights to the throne, and Katara sincerely did not know what to do. If the truth about the true state of the Fire Lord had come out, all the ill-wishers would not leave this opportunity and attack, this couldn't be allowed. They urgently needed to create the appearance that everything is in order, but how?

Zuko came up with a very brazen idea. He asked Katara to use bloodbending on him to simulate walking. It was a very difficult request for her, because this skill represented the worst face of the war, it was created to torture people. And the last thing she wanted was to torment Zuko. She hesitated for a long time, he saw it, but he couldn't wait. He couldn't stop, it wasn't a luxury he could afford. Therefore, he went out, trying not to get up and move much.

Naturally, at some point his weakness was noticed at the most inopportune moment. Naturally, at this moment Katara couldn't let Zuko fall. Imperceptibly under her sleeves, she moved her friend's body like a puppet, causing him as much unbearable pain as most would not stand. But Zuko was not like that. He stood it.

It looked like this to me somehow:

They were both very depressed that day. He was suffering physically because of Katara's bending, and she could not believe that she had caused the suffering of a person dear to her. It broke and scared her, she opened the way to the Hama's madness, and was very afraid to fall into it.

Zuko assured her that it was impossible. Hama didn't have people to guide her, while Katara has friends. Maybe Zuko didn't consider himself the best moral mentor, but he promised to be there in the most difficult moments for Katara, and now he won't leave her.

This encouraged her and opened her eyes to her own cowardice. She was afraid of the darkness of Hama, and instead of curbing it, Katara hid it in herself, ignored it. And that's what it led to: the person who needed her help suffered. But she didn't want to run away anymore. She wasn't going to give up without a fight and turn her back on those who needed her.

At the beginning, Katara trained on herself, experiencing the same pain as the victims of bloodbending. Careless movement of blood through the vessels could cause internal bleeding at any time, it was very dangerous. The Hama's voice in her head pressed on her conscience, saying that innocent people felt all this pain, and only Katara was to blame for this.

Later, she learned to control the flow of water on puppets, like Hama. The point was to pass water through the threads without bursting them. Absolute control was required here, and Zuko taught her the techniques of firebending for self-control. This was necessary for Katara, because the Hama's voice in her head did not subside and did not allow her to correctly distribute her forces. It seemed like Katara was about to stumble, but Zuko wouldn't let her do it.

Gradually, Katara mastered this skill and tried to draw blood on Zuko's legs. The effect was unexpected. Her great willpower and desire to help him resulted in healing. Zuko began to feel his legs, and Katara discovered the reverse side of this bending. No, she didn't heal him completely, it's too early for him to get rid of the cane. But maybe one day she will become so strong that she can do it.

Katara realized that there was no evil magic, there was only evil intent. This was her first step towards learning to look inner demons in the face, and not to hide them in herself when it was possible to hurt others.

But what about the other design?

Katara's father sent her a letter asking her to return. Her family needed her help, because she was the last waterbender, a carrier of culture and skills, as well as a healer of a new level, the daughter of a tribal leader.

At home, everything was not the same as before, moreover, everything taked shape as a Northern Tribe. I really like the idea of the comic "North and South" about the problem of assimilation. Only here has Katara accepted all aspects of its culture, even the most unpleasant ones, and she would not give up so easily when this newfound knowledge was in danger of disappearing.

Actually, I wanted to draw her outfit of this arch. I wanted to redesign the costume for myself, because I like to do it. I kept the front strands of Katara, we don't talk much about them.

I would really like to describe the path of the rest of the team and what they do, of Aang and what happens to him. But I'm already tired of typing, and you probably read.

After all, the post is more about designs, and not about the AU itself, so the goal to reveal some of my ideas has been achieved in principle. Maybe sometime later.

Hope you enjoyed reading this :3

[some-pers0n]

Demoman is one of the characters in the fandom I feel most people straight up ignore or don't know how to write. Blunt, sure, but I do stand by it. Demoman is such a fascinating, intriguing character with the most fleshed-out backstories, yet is oftentimes relegated to being Soldier 2.0, only now with poorly written phonetics.

In other words, hey! I'm a fanfic writer who has a ton of opinions as well as a neurotic need to analyze every character they come into contact with. Pleased to see you're reading this. I've already done a little doohickey essay like this with Medic a while back. The purpose of these long rambles is half of me combing through every instance of the character and pulling them apart to see how their character works...and also me not-so-subtly venting and complaining about mischaracterization. Shocking how a fandom where the main characters are all very clear-cut stereotypes with some slight subversions here and there can't seem to get them.

This essay will go through Demo's beginning and all the way to his latest appearance in the 6th comic. I'll touch on how his character shifts and is expanded upon. I doubt he changes as much as Medic has over the years, but I think it will be interesting to see. I'll just go over bits of characterization, try to rationalize it, and then try my best to sum up all of the traits by the end and try to describe his character in the most canon-compliant way.

With that preamble out of the way, let's begin. This is also 7k words btw just...be aware of that, okay?

Before we actually get into proper character stuff, I wanna lay the groundwork first by exploring the types of characterization I see from Demo. Pick them apart. See what they're really like.

So, of course, there's the popular Redditor opinion of Demo that's mainly shaped by the way people play him in the game. There, people will describe Demo as being generally a bumbling drunkard. It's not too uncommon to see people say that he's an angry drunk. A man who is more concerned with alcohol and drinking himself into a stupor than anything else. I've also seen people say that Demo straight up can't read, which...euhhhhggg. He feels more like an alternative version of Soldier at times, which, again, isn't accurate to his character.

I don't care at all for this characterization. I do think a good chunk is rooted in racism and it's generally very uncomfortable for me to look at for too long. This characterization is pretty shallow and empty, which makes for a boring and offensive caricature. Reddit moment.

The second one is more interesting and the version you'll see more on Tumblr. It's this...odd version of him. I can't exactly put my tongue on what is off about it. It seems more accurate to his character. He's a foil for Soldier a lot of the time (Boots n' Bombs is his most popular ship let's be real) and generally isn't exactly seen on his own. Sure yeah there's the oddball art of him and him only, but let's be real most of his tag is mainly just him being in the background or saying a jokey-joke.

I actually fell back into Ao3 for a bit to skim over some fics to see what kind of characterization there was of Demo there to refresh my memory, and some of the common throughlines was shockingly that he doesn't drink a lot. "He rarely drinks!" I remember reading once. That's not right, no. He's an alcoholic. Like that's a core part of his character. Another fic had him being called "Cyclops" as a pet name. Ew. Anywho, other than that it's Demo being pretty into cryptids, having the Eyelander as a buddy guy, etc and etc. It's fun, but also it's missing...something.

Then, it hit me: Demo rarely is seen as an individual. He reminds me of Heavy in that regard, where most of his appearances have him be the straight-man to another character. Most of the time he's secondary and just a folly for the other characters. It's disappointing in that regard. Like you see a lot more stuff for characters like Scout, Medic, etc and etc with their own unique characterization stuff and getting their own attention.

So...then what is Demoman's character, exactly? Well, that's what we're here to see. It'll be pretty interesting, no?

----

So, funny thing is that Demo didn't change nearly as much as Medic has over the years. Sure yeah, the concept art of Demo was more of the generic stereotypical Scotsman. White, ginger, sideburns, that whole thing. Cartoony and fun design, but eventually they went with the Demo we all know and love today.

Looking at the concept art, it all seems pretty standard for the tone that Invasion was going for at the time. Nothing really to note there other than Demo's face being a stock angry grr grr expression. It is interesting to see how the idea of him wearing an eye was a constant even from the beginning though.

This then brings us to the voicelines. Ahh, good ol' characterization. Demo here is characterized as being jovial and having fun. He's throwing out insults left and right, damning them to hell and laughing at them as they die. Usual typical mercenary stuff. This is just personal headcanon material, but I always rationalize the way the mercs act on the battlefield as being a result from adrenaline and generally being drunk on blood. They aren't as mean when off the clock, but it's worth noting that these are how these characters act when a gun's in their hands and they're exploding people left and right.

TF2 really likes basing the characters off of the class they play as and how they act. Scout is fast moving and his gameplay is oftentimes getting right in someone's face and bolting, which is reflective in his hotshot personality. It's only reasonable that Demo is an explosive, fun, and generally cocky guy when out and battling. He's lobbing grenades and sticky bombs left and right. He isn't afraid to yell to the Medic he just blew up that he's been shagging his wife and calling the Scout he just chopped the head off "twinkle-toes". He teases and such when it comes to the other team.

However, the voicelines also very curiously give us a really fascinating look into his character. He's an alcoholic. He loves his scrumpy, which is not whiskey, shockingly. I thought it was whiskey for the longest time, but no! It's a cider! His stock melee is the bottle he uses to drink, now turning it into a quick weapon. His model in the main menu is him holding up the bottle itself. His default melee taunt is him taking a swig from the scrumpy bottle. It's a core part of his identity, let's be real. It's a part of the whole Scottish stereotype he has going on.

The game of course follows this. There's a lot of lines where he's slurring and babbling in a cartoony drunken way. A good portion of it is just him making vague threats...but a lot of it is also sad. He calls himself a one-eyed bloody monster. He weeps and cries. When jeering, he says he's hit rock bottom here. Interesting new development.

Apologizes for pausing to ramble, but I don't get why people try and sand down the edges to Demoman's character by making him out as though he isn't an addict. He is. That's something that is made abundantly clear. The iconography of alcohol follows him like his own damn shadow. I dunno. It bothers me.

I digress. There's some other bonus stuff I think is quite interesting. Most of his battle charges involve the other team. "Let's gettem lads!" and all. I think it's neat how he views his teammates as just that. Teammates. Those he fights alongside with. Another thing of note is how he occasionally has lines that are...odd in a way. Poetic and dramatic. Something that subverts the typical characterization. When he loses at rock paper scissors, there's a chance he'll say "Oh, 'tis a dark day", which. well then okay buddy.

So to recap: for characterization in-game, Demo is an alcoholic Scotsman who is generally pretty witty and functioning despite the incredible amounts of booze he drinks. He is energetic, bombastic, and generally hearty and having fun. He's not taking things terribly seriously and is generally just going about and blowing stuff up. However, there is a very noticeable streak of sadness to his character. When drinking, he reveals undertones of self-deprecation and hatred. Why? How?

...well, you just need to take a gander at his character card.

Erm excuse me what the fuck.

I honestly do not understand the logic behind this backstory. Like in a practical sense. Like, yeah!! obviously this backstory is sad and such! I really actually like this backstory and honestly I love writing him in the context that this happened to him. It's just that...I can't wrap my head around the idea of this being Demo's backstory given that everyone else has pretty silly little blurbs here. I think the darkest it gets is Soldier going to Germany years after WWII ended to kill people.

This??? Sure yeah TF2 gets a lot sillier and more cartoony comedic as time goes on, but even with the current tone where is the funny? I ain't complaining, I love me my angst, but this is so jarring to see. I suppose that explains why they retcon it later, but I'm getting ahead of myself.

Hey, at least it gives us an explanation to why Demo is sad. We can pretty easily gleam a reason for his current behaviour in the game from this: his messed up childhood. To begin, Tavish Finnegan DeGroot was abandoned by his parents and left to live in an orphanage. Eventually, he was adopted and brought up by some foster parents, who he then murdered in an attempt to blow up the Loch Ness monster. This was when he was six years old. Actual child. 

He then went back into the orphanage, where he would tinker with bombs. Why? Insert whatever headcanon here, but for me I think it's a feeling of fascination, yet also heavy guilt. Perhaps revenge. Either way, he loses his eye from these experiments. Eventually however, he's brought back into the family when word spreads of his excellence when it comes to manufacturing bombs. The use of the word "lovingly" feels exceptionally sarcastic, but that could be in part to how his parents are later characterized. Either way, this is a result of the DeGroot tradition, which, and I quote, is wholly unnecessary and cruel. It even cites it as him being reintroduced into his family as the "end of his unhappy childhood".

...so yeah. Pretty safe to say the reason for his alcoholism is to cope with that. He feels the guilt over that and will breakdown into sobs over it even. Yikeesss... It can also mean that he feels as though he's held up to incredibly high expectations, having the entire DeGroot family lineage to live up to. Again, later on he's being nagged at for not being as hard-working as his father, who, in good ol' TF2 fashion, blew up the Queen for a nickel. It does certainly feel that way, no?

So this introduces a new wrinkle to Demoman's current characterization: he's an alcoholic who is happy and has an upbeat and fun personality (at least on the battlefield), but underneath it he's hurting and feels ashamed of who he is. He drinks to cope and manage it, yet it only seems to exasperate problems at times.

Can I safely say that Demo is the merc with the most fascinating and intriguing backstory and personality thus far? Sure yeah I love Engie a lot as well, but Demo's character actually feels like it is a result of the backstory written for him. Like all of the other mercs sure you can go on and on about stuff with them, like Scout and Spy and their whole deal, Sniper and his parents, everything with Heavy, etc. Demo?? Right off the bat there's something to chew on in terms of actual character writing.

What an interesting character! I sure hope later installations of the story will follow through on this and give him ample screentime!

Anywho, time for the Meet the Demo video. Again, a departure from the Meet the Medic video and how I rambled on and on about that one, but it was mainly due to MtM being something to mark a drastic shift in Medic's character from serious and angry to more silly and mad scientist-esque. Meet the Demo, due to it being one of the Meet the Team videos made so early on, doesn't really get the benefit of a short with a story, but I digress.

This one is stylized more like an interview, which, in canon, means he's telling this all to The Director and all. It opens with the title screen before the horns section seep in, cutting to a clip of Demo running while explosions go off behind him. A freeze frame cut before a voice-over of Demo comes on with the iconic line "What makes me a good Demoman? If I were a bad Demoman, I wouldn't be here discussing it with you, now would I!?"

Okay so just more confirmation and all of Demo's personality in-game. According to his bio, he has a short temper and all, which could explain him getting louder when asked that question. I don't think it's a joke or him exaggerating, since he seems genuinely pretty upset by the suggestion. He would have to be good at his job in order to be telling you this, yeah? Why even bother asking? It's an interesting bit of characterization that somewhat expands on that short temper.

More generic footage of him running about while explosions go off before coming back to the interview of him explaining a bomb in its simplest form. "One crossed wire, a wayward pinch of potassium chlorate, one errant twitch... and kablewie!!" Seems like filler dialogue, but I always like taking note of the fact he uses the chemical compound term as opposed to something more colloquial. It's just headcanons, but I really enjoy thinking that Demo is pretty damn smart and really gifted when it comes to making bombs and general chemistry. It's a clear passion and love of his and I like touching on it when I can.

The next couple seconds are shots between him taking a good swig of his scrumpy and then blowing up a level three sentry. It's just showing off his capabilities as a class. Nothing special (other than being cool and showing he's competent at his job). The real interesting part is his breakdown where he's on the verge of tears, exasperatingly telling the camera that he's...off. He knows it. There's not too many black Scotsmen, especially ones with a busted eye. "They've got more fucking sea monsters in the great Loch Ness than they got the likes of me" he says.

But, he perks up! He talks over a clip of him baiting a group of BLU mercs into a sticky trap. The voiceover is also really fascinating here. The way Demo talks reminds me something out of an Aesop fable. It's a very curious and fascinating way of talking. I wish this bit of characterization stuck around since it's pretty fun. "Come and get me I say! I'll be waiting on ya with a whiff of the ol' brimstone. I'm a grim bloody fable...with an unhappy bloody end!" is really cool.

The video ends with him taunting the mangled corpses followed by a rendition of the main theme with bagpipes. I should probably also mention Drunken Pipe Bomb, his theme song. It's an upbeat and fun piece with a mixture of the typical TF2 sounds (funky jazzy drums and bass guitar) as well as a Celtic flair, what with bagpipes, whistles, etc and etc. There's also a kickass surf rock section. It's quite the battle theme and definitely reflects a lot of Demo's character as being an energetic, explosive type of character who is proud of his Scottish roots.

So that's pretty much it for SFM bits for now. How about we take a step back and look at the first-ever actual TF2 comic: WAR!, where Demo really gets a big break for his characterization. We don't care about the Saxton Hale or Jarate ones. WAR! my beloved...

But first, the actual WAR! update. It was the sixth major content update released back in 2009. Remember when this game got actual content updates? Me neither. The update was based around the rivalry between the RED Demo and the BLU Soldier to excuse why they were adding new items for the both of them, with Soldier in the end winning the little contest and getting the Gunboats.

For canon lore, the update serves to introduce the idea that the RED Demo and BLU Soldier had a comradery at first. Friends! Interesting piece of characterization to have Demo explicitly go against RED and become friends with Soldier. The two of them do bounce off of each other quite well when they're paired up, I will say. They're both heavy-hitters in terms of gameplay and their personalities are quite loud at times.

For added voicelines, there's a bunch of the Administrator denouncing their friendship as well as domination lines for both Solly and Demo whenever they kill each other. Demo pretends he hates Soldier, but asks if he's okay, tells him that he loves him, and generally is like "but we're still friends though, aye? :]" He does care a lot about their friendship, which is pretty sweet and cute. Sure hope that lasts.

In the WAR! comic, we see Demo in a mansion. He's loaded! It's also confirmation that the mercs are given quite a lot of money, but apparently not enough for Demo's mother. She's nagging him about not working and saying that he should be ashamed for being so lazy, to which he rebuttals, saying he has three jobs and has made millions annually. Apparently not enough for his mother, since Demo's father worked twenty-six jobs.

She also brings up an interesting piece of information. "No demoman worth his sulfur ever had an eye in his head past thirty!" which implies that missing an eye is a family tradition to lose your eyes when working this job. Would this also imply that Demo is not thirty by this point, since he still has the one eye? Eh, whatever. 

Demo taking care of his mom in this old, nagging state is pretty neat characterization, as well as him holding down two other jobs besides mercenary work for RED. He's very capable and talented! He's also extremely caring and sweet. Even when his mum is complaining and griping about him not living up to his father, he gets her tea and takes care of her. He does respond with a lot of "I know mum" when it comes to that. He's heard it all before. She keeps saying the same stuff. I like thinking he knows fully well he can't live up to the extreme work ethic his father had or truly impress his parents and is pretty bummed out about it, but that's just headcanons.

Anywho, Pauling's there. She's there because the Administrator wants to break up the friendship between Demo and the BLU Soldier and instead have them be pitted against each other. While Soldier needs to be tricked and insulted by Demo and told that he's a civilian (something that he hates apparently), Demo is more coerced and convinced.

He's still loyal to their friendship, but, aye, there's something different about that sword there. Here's an interesting bit of characterization: Demo being a sword guy. There's a lot of medieval stuff relating to Demo, what with DeGroot's Keep, the Eyelander, his general way of speaking at times, etc and etc. It's fun and I think he takes great interest in medieval-period stuff, but, again, headcanons.

Demo feels conflicted. How could she make him choose between his best friend and this cool ass sword?? He doesn't give an answer, but Miss Pauling further pushes him to choose violence when leaving even more stuff for him as well as telling him that Soldier said that he'll join the fight. It's then assumed that Demo agrees by that point.

It's interesting to compare and contrast Demo and Soldier. Soldier, despite hearing all of these mean things, still wants to be friends with Demo. It's until "Demo" calls him a civilian, something personal and sensitive to him, is when he decides to betray him. Demo meanwhile is more swayed by things that he loves, but the final push is that betrayal. He only acts when he's finally told that their friendship has been severed. Curious how their loyalty is strong in those ways.

...I should probably sometime mention the actual retconning of his backstory however. Hoouhhh boy let's go. So, for the 2011 Halloween update, there was a comic alongside it. This comic had some cute gags, like Heavy giving a little boy he scared seven grand. However, the main attraction is the rewritten backstory for Demo.

I mentioned earlier, but I honestly can't blame them for maybe trying another crack at a Demo backstory that isn't as bleak and miserable. I do really like the original one because I'm a sucker for angst, but this backstory does work a lot better tonally when you're just trying to write some goofy stuff, especially if it involves Merasmus at some point.

The story retcons the whole thing and seemingly makes it so that Demo has always been with his parents and the reason he lost his eye was not because of some brutal accident but rather a currrseeee ooohhhh spookyyy. He's hired by Merasmus to sweep up the place a bit, with him being exceptionally clear to young Tav to not touch any of the accursed tomes. He does, of course. Nothing too much in terms of characterization. It's more just saying "Hey Demo's eye is cursed and that's why he lost it but! hey! it comes back once every Halloween!!"

Again, I can't really knock this version of events. They're simple, but goofy and fun. It's all up to whatever you're trying to accomplish with Demo methinks. If you want silly and whimsical stories, you can have that backstory. If you want gut-wrenching angst, probably should take the initial one.

Aanndd that's virtually it for Demo being important. Demo doesn't get too much plot relevance later on. He's just kinda done with. He shows up in Expiration Date for a quick gag where he returns with a bunch of beer, shouting and cheering while being unaware of how they all just learned they're going to die in three days. He then shows up again during the bucket scene and doesn't do much other than mouthing somethin' (I can't tell you want tbh). A new thing is that he plays piano! That's fun! He then kinda watches Scout try and ask out Pauling and he yells for him to describe what she looks like, which is just what Demo currently sees her as (drunk, blurry, etc). He then fights in the big battle yada yada and shows up at the end with the beer again.

The MVM trailer I suppose is a thing to be noted. Here, he's a BLU Soldier and is playing cards with the Soldier of the same team. Seems like regardless of teams, there's some sort of bond between the two of them. All that happens is that Demo is down to bust up robots with the rest of the RED mercs. Pretty much it.

It is quite unfortunate to see Demo relegated to a role so passive in the story and comics. I've mentioned it before, but I do have an ever so slight grudge against Soldier for taking up the majority of the screentime when it comes to the comics. Yeah, he's really fun to write about, I can't blame the writers for doing so, but also like...c'mon... In the end, we're left with a good chunk of the mercs being underdeveloped in exchange for a ton of Soldier trivia. Props if you like Solly though; your fave got the best treatment.

Ah, but still! Demo has some moments in the comics! Let's go through them! 

Uh. Upon checking most of the comics before the mainline ones, it appears he does not say even a single word. Or even show up in a good portion. Well that's disappointing. I thought he at least said like...one thing. The most he does in terms of characterization is put on a crown in A Fate Worse Than Chess, and even then that's just a silly cosmetic. Damn.

It's fine though! Because now we have the mainline comics! Hot damn finally some actual casual Demoman TF2 writing! Let's get a look and see what his normal usual personality is like! I wonder what fun shenanigans he's been up to.

The first time we see Demo he's babbling about his job being replaced by robots and looking utterly dishevelled and depressed.

Okay. That's...yeah pretty in line for his character thus far. An alcoholic who is struggling with some stuff and oftentimes will have a very vocal breakdown in front of others.

The way that he's characterized here is rather fascinating though, I'll say. He's depressed. From what we can glean, this is what his life has been like since the layoffs. He's gained weight (what with Soldier's very blunt "Hello fat Demoman!"), hasn't shaved, his clothes are dirty, and beer bottles are scattered in the living room. Even the Eyelander is like "dude you need to let it go" when Demo mumbles about robots replacing jobs. He's presumably lost his two other jobs and has just been laying on this couch, drinking booze and watching TV and nothing more, despite his mum's nagging.

This is a side of Demo we don't really see. Sure, yeah, we see the hot and tempered side (ex: Meet the Demoman and the general game) as well as the sad and weepy side, but it's never to this degree. Like full on depressive episode. Yikes. Sure yeah he gets dragged back into the plot and instantly gets back to himself (albeit more orange than actually black)(I keep forgetting how whitewashed Demo was in these first few comics), but it's played for laughs and gags.

What an interesting piece of characterization, no? I've seen a fair amount of major depressive disorder, BPD, PTSD, and or bipolar headcanons slapped onto Demo and tbh I can't blame them. I'd be really interested to see some fic explore that in greater detail. I'm too busy writing Engiemedic yaoi to do anything for now though. Womp womp.

The ending bit of the comic has Demo and Pauling mainly chat with each other. Oh yeah!! Demo and Pauling! They've got a couple pretty neat lines. For the usual contract it's just jokes about his alcoholism, his eye, and a couple about his mom and just general gags. In the Tough Break update, she's out drinking with Demo and nearly spills the beans about her job. Fun. I really like the Miss Pauling characterization where she regularly hangs out with the mercs. It's cute.

In the comics, she talks to Demo more like an actual equal than, say, Pyro or Soldier. She talks to them like they're children roughhousing in the backseat. Demo sits up front and the two go back and forth. Demo is the more mature and reasonable one here. Another thing that's a common bit of characterization in the comics is that Demo isn't...drunk. He's not slurring nor acting in a way that makes it immediately clear he's inebriated. He's pretty lucid. This can be from the fact that he's a very high-functioning alcoholic, but it also makes him out to be actually pretty all-there for most of the time. I've seen far too many fics where Demo is in a perpetual state of shitface drunk so that was a nice refresher.

Demo reappears in the second comic, where we get some pretty neat characterization. He's out on the town in disguise. I keep forgetting about that "What do you see?" "Not a damn thing. Let's switch places" gag that's so funny. Whatever. He is the voice of reason when it comes to Soldier. The straight-man character. He's not really...drunk here. He's not slurring his words nor is he exactly doing anything. He steps in front when Soldier starts yelling at an elderly woman, instead approaching her with a calm and kind demeanour. He holds Soldier back when he goes to strangle Scout for. I guess just being there.

So there's Demo when he's just doing stuff normally, I suppose. He's generally pretty level-headed, albeit because he's up there with Soldier. He's the Normal One when posed next to a guy like Solly. A little disappointing, but there's probably more in comic 4.

Ah the Swordvan comic. Demo and Pauling head over to Sniper's house to retrieve him. An odd bit of characterization is that Demo just takes one look at Snipes' house and goes "Welp, nobody's here. Let's get out". He doesn't seem terribly thrilled to be here, further backed up by him saying that there's just gonna be fingernails and jars of piss and he straight up says "good riddance" like what is his issue with the bushman??

Now that's kinda interesting. Demo sees Snipes as being kinda just gross and a raving lunatic. He could easily be in-place for the audience and just saying what we're thinking, but I think it's interesting to see that Demo, the guy often portrayed as being the weirdo party guy, being very straight-forward. He think Sniper is some sadistic madman and just wants out. Unfortunately, he's given a neckfull of Sniper's homemade family moonshine, so he can't get out quite yet.

A very common thing in these comics it seems is Demo being the voice of reason, which is pretty interesting. The straight man to everyone. When he wakes up to Pauling spitting on him to wake him up, he goes "eughhh gross, but, hey, it worked!!" before then is knocked out. He then stays quiet for the rest of the scene, unless of course you're counting the deleted pages. There's no dialogue, but Demo breaks free from the ropes binding him, yells at Sniper, then pushes past before then inserting three syringes-worth of the moonshine into himself and passing out. Alcoholism joke as per usual. Shockingly the first one we've gotten so far.

In the submarine ride down, Demo's passed out with his scrumpy in hand. Again just a gag about him drinking a lot. He then kinda stays in the background for the rest of the comic, only appearing really once to hold a vat of liquor, before then coming to in the final shot where he holds Sniper's dead body. Heyyyy Demo I thought you thought Sniper was a weirdo freak.

Nothing too much to say from this comic then. It's just establishing more and more that Demo plays a very...straight-man character role when it comes to the comics at least. He's reasonable, level-headed, and often just says whatever comes to mind. He's kind and will instantly rush to someone's aid when they're hurt as well as just generally being pretty good-hearted. Nice!

Comic 5 mainly just features a gag with Demo's liver being so overworked that he starts turning his other organs into alcohol distilleries. The whimsy. The line that I find most fascinating from this comic is from Spy.

Like oh okay so he straight up doesn't eat anything other than alcohol and aspirin. Water literally poisons him. Probably just a throwaway gag, but geez. It does say that he is kinda in pain all the time, at least to the point where aspirin is one of the few things his body can handle. Someone out there can probably work with that and make it angsty. Other than that, not much else for Demo.

Comic 6! The final one! Home stretch here folks before I can wrap this up and give a thesis on whatever the heck Demo's character is. Demo, again, is mainly just here for gags. It's the one thing I do really wish that the comics did more: explore Demo's backstory. Like you don't even need to keep the original one, but it's still fascinating to bring up the fact he has a family lineage at all. Instead, he's mainly just a straight-man character. But, hey, whatever. I'm just the one analyzing these silly comics and jokey joke characters for gay melodramatic yaoi fanfiction.

There's a gag about Demo's liver coming back to him after leaving. These soap opera drama scene could parallel the type of shows that he was watching when having that depressive episode, but that's maybe a bit of a stretch. He then gets included in that fun group shot, where his pose mimics that from the Meet the Demo, before then gets a one-on-one scene with Medic. 

These two are such a fun duo I wish Jaggerbombs was a more common pairing. Ah well. Medic catches Demo up on everything whilst he's stitching up wounds. The medi-gun is broken so they're doing this the old-fashioned way. Demo has a gag where he's still drinking, only that it's hydrogen peroxide instead. This then leads to a scene where Demo asks why Medic never gave him an eye. Reasonable methinks. Medic responds saying he did.

Demo gets upset. He raises his voice for the first (official) time in the comics. Again, his temperament. I think it's a reasonable thing to be upset about tbh. Like imagine being told after all this time you could've had your eye back. He then learns that, no, the procedure has been done before, but rather that it never sticks because of how his eye socket is cursed. Demo asks how he can't remember this, to which Medic goes "Hooh :] It's because I scooped out a part of your brain" because of course he did. He then forgets the entire conversation + probably Medic entirely.

Aaannnddd that's pretty much it for Demo. That's his last speaking role. Just a quick, simple gag about his eye being cursed, his alcoholism, and generally being the straight-man for others, even if he does have a couple silly gags too. Seems like a culmination of everything he is in the comics.

To conclude: Demo is a character I feel can take on two main roles depending on what kind of tone you're going for. If you want angst, you've got a character who carries the guilt of murdering his foster parents as well as the burden of being a DeGroot, turning to alcohol to cope with his sadness and general inability to deal with it all. If you want silly goofy stuff, you have Demo being a straight-man or a neat party guy if you like the bit from Expiration Date where he brings back beer and such. Of course there's nuance. I find it best to try and find a balance between these two opposing sides. It just takes time and practice to really get a hold of his personality methinks.

I do wish he was more in the comics though as his own person, y'know? He's very reliant on others in order for his character to function, whilst most others have scenes where it's just them doing something. I wish he was used more than being the guy who drags the others back to reality. Damn it sucks to see that the fics where he's mainly just the straight-man are kinda right in that regard.

But for character traits? Hm, let's see. I find it's just trying to make sense of what's given to you and seeing what best fits for the tone of story you're trying to go for. However, for me trying to write him? Well...

His alcoholism is a central character trait. He is definitely 100% an alcoholic, regardless of however people try and sand him down. I personally really like sticking to the idea that he straight up can't eat anything but booze and aspirin because I think it's funny but also sad, but that's me. I think him having a flask of scrumpy on his person at all times is a neat headcanon as well.

Another big trait with Demo is his frequently shifting mood when drunk. He can swing from loud to weeping in a couple moments. I wouldn't say he's particularly angry nor aggressive, no more than any other character at least. He's most volatile on the battlefield, but otherwise at the base I feel it wouldn't be an uncommon sight to see Demo partying until dawn or holed up in the living room and sobbing. Poor guy.

In spite of what many think, Demo is certainly not lazy. He's a workaholic is anything. He holds down three jobs and rakes in a lot of money in order to live up to his name as a DeGroot. It could be because he likes working that much or that his mother just nags him to push himself that far. That also ties into his self-deprecation, another core trait of his, but that's pretty obvious to see.

His heart is another big trait. The guy loves. He cares for his mother even when she nags at him. He sticks by Soldier's side until he feels as though he's been betrayed. He takes care of the Eyelander and treats it like a pal. He generally cares a whole heck of a lot about people and other things. He wears his heart on his sleeve and says what he means. He doesn't feel a need to really hide who he is as a person. He's loud, fun, and just naturally pretty sweet and kind. I don't think he's ever really "mean" outside of the game stuff. There's also the whole "being hired to explode people" part but ehhh that's just the silliness in him :]

Demo also being generally pretty...normalish. He's a guy who's really just going through it when you take the angst option. He oftentimes will try and hold back others from doing something stupid when sober. I feel like when he's drunk he's more willing to get in on dumb shit, but still. However, this doesn't mean he's wholly a normal person. I think you can do a lot of headcanons here where you bring out some traits that are otherwise not talked about too much.

There are a lot of liberties to be taken with Demo's character as per usual. A ton of writing a character to be, well, in-character is just getting down their voice and mannerisms. Understanding their personality and motives is just half the battle. Demo sometimes speaks like an old-timey medieval knight or poet or whatever. He's generally pretty well-spoken and whatever. For the love of god if you want to write him, you don't need to include phonetics constantly. Please. It's so much better that tu'try toh spell everay whurd like tis. Oftentimes people will just know what the character sounds like regardless. Just try and mimic his way of speaking more and you'll do wonders for actually making that character sound like, well, that character.

I've neglected to mention Demo being a black man a lot because, well, it never really pops up a lot in canon. I think the most recognition we get for Demo being black is him just saying that he's black. He's a black Scotsman and that's about it. It's curious since I've seen a number of fics where it's all period-typical racism angst and whatever, with Demo being used as a way for the author to get up and proudly say that they think that racism is bad by having Demo being called a slur and getting upset. How progressive. 

I dunno. I never really personally touch on period-typical bigotry stuff myself due to the fact that this is Team Fortress 2. Rocket jumping was invented before stairs. Besides, this is the late 60s/early 70s. The civil rights movement happened by this point. Not everyone walking the streets is gonna be some abrasive bigot. I don't know why people want to try and make it "historically accurate" to begin with since this series has never been period-accurate to begin with. I don't particularly think TF2 is a great series to go on about tackling period-typical bigotry either. Literally if you want Demo angst you've got the actual mountain load of angst with his backstory right there. Obviously of course people are allowed to write what they want and I do fully believe that sharing stories and portraying bigotry is important, but why with TF2??? Do people just really look at a POC and think their existence is inherently political and they need to make it clear they think Racism Bad, even though the tone of canon really doesn't match that?? Ah well. I'm just rambling.

Regardless, Demo is just a character where you can take a lot of different avenues with. Maybe you can explore his trauma and try and write about how he feels trying to live up to his family name. What about his issues with his now-deceased father? Maybe you can forgo that and have him be a partner in crime to Solly or whomever else, with the occasional glimpse into his more sensitive self. Really, it all just depends on the story you're trying to tell. Ultimately, writing Demo with a healthy mix of comedy and angst is probably what is best done if you just want a pretty in-character version. He can be out on some grand adventure to take down Nessie with a merc or two AND have it be a story about him coming to terms with his past. That's just a me thing though lol.

Demo, like the rest of the cast, is an easily moldable piece of clay. All of the mercs at their very core are just funny character archetypes. They can be whatever you want them to be. It's just best to work with their original characterization and personality in mind, y'know? Fanfic writing is mainly about having fun anyway.

Speaking of which, enough procrastinating for me. I need to get back to writing my yaoi...

[severus-snaps]

a ramble and some open questions for fandom elders (and others) about whether Snape was only made more sympathetic on account of Alan Rickman's popularity/casting, and similar things

so I stopped engaging with a tiktok creator for a while who I'd previously found very interesting because nearly every time they brought up Snape, they'd throw in some casual "if Harry was a girl, Snape would be really creepy/predatory about it" or some other weird Snape take not rooted in anything (to my mind). Like, it was weird to me because they bring in book quotes or pottermore/interview snippets to other analyses of other characters and ideas, but never Snape - for Snape, it was always just about vibes and feelings. For Snape, the fact we never hear that he killed someone or the fact we never heard that he stalked Lily is, in fact, strong evidence that he did do those things - or certainly thought about it - and certainly enough to be considered predatory and likely to dose Lily (and later a hypothetical Harriet) with a love potion or keep them in his basement, or something.

I disputed that idea in the comments one time, and some Snape supporting comments outside of mine got removed and users blocked, meanwhile my comments were (I think deliberately) misinterpreted. I stopped using tiktok entirely for a while, and never went back to see if the comments got deleted or whatever. Tiktok never gave me any further notifications about it upon re-downloading, so I guess they were removed? Idk. I have no desire to check.

but all of that is background really; she's lately posted some videos (I still find the rest of her content interesting, but apparently snape content is a no-go lool) saying that Snape's whole characterisation is different after the 'three year summer' - that is, that JKR saw how popular Snape was in the films, that she had to find a way to keep Alan Rickman on board when he wanted to leave, and that when she took her break between writing GoF and OotP I think, Snape sort of morphed into a new character and she had to attempt to redeem him (which, in her eyes, he's not redeemed even at the end which is like. ok). She implied that there's no evidence of James' bullying prior to OotP, no evidence of Snape ever having had a relationship (much less a friendship) with Lily, and that all of that was tossed into the later books retroactively to 'redeem' his character. (Obviously, I have Thoughts on that, which I'll come back to).

Of course, with the sort of... bad vibes she's built up around pro-Snape comments on her videos, all of the comments were in agreement with her. I'm also new to HP/Snape in terms of actively engaging with the fandom online, as it somehow passed me by at the time. But now I have Thoughts

So with all of that in mind, and just because I want to hear other people's thoughts but TikTok comments are a nightmare on their own with the character limit, inability to read them properly/in order, and general vibe of TikTok comments (even without the creator deleting/getting antsy about pro-Snape ideas), if anyone wants to discuss this lot, I am keen to hear people's thoughts:

Was Snape always a popular book character, or did that change/skyrocket with Alan Rickman? (For my part, I don't remember hating Snape when I read the books the first time around - in fact, I hardly remember registering him at all - but I do remember hating Umbridge).

How true is it that Snape was made 'more sympathetic' following the films? To me, it doesn't make sense; the first big, weighty suggestion of the marauders bullying Snape was in PoA, which was released mid-1999; the first evidence that Snape was spying was in GoF, in mid-2000. The first film didn't even come out (Alan Rickman's charisma included) until 2001. Weirdly, the PoA stuff the user is convinced just says that Snape was jealous of James (probably true, not denying it) but in the exact same book Remus/Sirius all but admitted to Sirius trying to kill Snape, which seems like a massive overreaction to Snape being an annoying little hater of a teen that she never comments on because, I guess, Snape deserved it?

Also, does it matter if he was made 'more sympathetic'? ootp was published in 2003, and in early 2002 Alan considered leaving. sure, JK might have added/exaggerated SWM to make him more sympathetic, but the reasons for adding in scenes don't change the fact that that's now part of the fabric of the character - a character who, by this point, had already been revealed in PoA to be the subject of a near-murder plot at the hands of the Marauders and was Very Not Okay about it; the marauders had already been described as troublemakers; Snape was already shown to be wary of Lupin for reasons that weren't solely about him being a werewolf, but about the Prank/Trick/Willow incident. An incident, much like SWM, that occurred because Sirius thought it would be "amusing" to put Snape in a horrible position. if JKR wanted to, she could've made Sirius the ringleader in SWM - but for Snape, I think she just wanted to solidify why a grown man hates a child who looks exactly like his father, which was also referenced in the early books and strongly prefaced by the events of PoA in the Shack (I don't think she had it 'all planned out' from day dot, however, but went with the vibes and fleshed out the details later). Obviously, to this creator, Lupin's idea that Snape was solely a little bitch because he hated that James was better at Quidditch is to be taken at face value, despite the fact the conversation then moves on to Snape's near-death following Sirius 'trick'ing Snape into the willow

Same as above but with his characterisation; she acknowledges that the later books are darker and have a more adult tone, but somehow it's still suspicious that Snape's sympathetic backstory was never once alluded to in earlier books (which, again, I think it's fair to say it was alluded to, but in sufficiently lacking detail so that JK could deal with it when she got there). Also with PoA and GoF especially, there are hints of Snape going from his more 'silly evil teacher' which he kind of was in books 1 and 2, heading towards the more realistic, but still delightfully bitter and flawed, adult character as the books aged up. I haven't read the books in a while I'll admit, but from the Snape passages I have read, I never noticed a sufficient difference pre or post three-year-summer that didn't match the wider tone of the books changing also.

Unlike the tiktok creator, I also think that Snape's reaction to Harry in general is almost entirely to do with James, rather than Lily's so-called rejection, and so there's no evidence that Snape would be weird to a 'Harriet' that resembled his mother, or weird to Lily if he saw her again; I think with his characterisation it's more likely that Harriet would've been treated like Hermione, Ron, or Tonks - being largely ignored with the occasional insult and told off for causing trouble - aka, how Snape would treat most people. Outside of the one isolated 'mudblood' incident, Snape was a bit of a doormat when it came to Lily (bless his heart). He followed her from the train carriage without comment, backtracked when she appeared angry in the post-prank conversation, even the "I won't let you" seemed more "I won't let you turn him into some kind of hero" or even, at a stretch, an "I won't let you be with him" out of Lily's own safety or something than "I won't let you leave me", to me - because he did just let her leave him in school? James and Snape continued hexing one another in 7th year, but there's no suggestion that Snape ever tried to be weird to Lily.

To my mind, there's no suggestion that Snape stalked Lily, no suggestion that he asked Voldemort to capture her - just to spare her. And then Snape went to Dumbledore anyway, probably immediately based on how harried he is on the windy hilltop scene, because he knew Voldemort wouldn't spare her, and even if he did, Snape would probably have to keep up the ruse of 'desiring' Lily, and do the sorts of thing Snaters suggest he wanted to do, just to keep her alive. But with Dumbledore involved, Snape wouldn't ever have the chance to imprison/love potion her - and that wasn't what he wanted. He just wanted her alive so he wouldn't have played a part in her death. I also doubt that Snape had much time to think when Voldemort revealed who he was choosing to kill; it's not as though Voldemort makes decisions by committee. He'd have revealed his plans and Snape would make a quick, panic-stricken decision to tell Voldemort that he desired Lily (which he may have done, to an extent; he'd need to draw on something to back up his request when Voldemort undoubtedly looked into his mind to see why Snape wanted to spare his Priority #1 victim). And like I say, he then set up a meeting with Dumbledore, probably immediately/as soon as he could, sensing that that wouldn't work (was he not convincing enough? Did he just know Voldemort too well? I have so many questions about how that conversation went down, and subsequent conversations about Lily which presumably occurred after V's resurrection).

anyway, no conclusion, only thoughts too rambly for tiktok comments

[3liza]

corset has become one of those things where I wonder why I feel so bleughhh and then I realize I'm not wearing it or haven't laced it up, stupid,

and then I do and instantly have blood in my brain again and start zooming around my house faster and thinking clearer. it's interesting how so much of this illness is purely mechanical. squeeze one part of your body to move fluids to another part of your body. apply pressure to an area that is sore and hurting and it feels better. idiot. moron

one of the lectures about POTS/EDS at the Dysautonomia Conference I think in 2022 ended with the presenter recommending corseting (she phrased it as "abdominal compression" because corset scary) by using waist trainer wraps for patients to immediately get some relief and restore homeostatic fluid dispersal to the parts of the body that need it. compression garments are recommended in the scientific literature for tons of stuff that doctors don't communicate to patients, including autism. not necessarily a corset corset with steel boning that looks like a fetish club item, but just general physical mechanical support for all these patients whose problems are either rooted in or comorbid with tissue laxity and bad orthostasis. if it's loose, add reinforcement. very simple mechanical principle we all understand intrinsically but somehow don't think of applying to our daily EDC of shit to handle our problems.

I have a friend with Problems Syndrome who describes the sensation of something being pulled downward uncomfortably from their chest and throat when they aren't tensing their abdominal muscles constantly. I do that too, it all has to be held in, held still, tensed and gripped or you feel like your body is collapsing like one of those string toys

anyway this is not to say "get a corset", because it's not the right thing for everyone obviously. also it's a lot of trouble to buy them and try them and break them in and not everyone wants to look like an extra from Sweeney Todd every day. I have that option because I'm a goth that works from home. I'm just blogging, don't take this as medical advice or even casual advice. I was just inspired to jot down my thoughts after thinking "why do I feel so shitty" today, lacing up the corset I had loosened earlier, and immediately regaining about 15% of my function.

[gotskamstuff]

Season 4 pt.1 debuting with over 15.5 million views in the first 3 days and pt. 2 debuting with close to HALF the views in the same amount of days is bringing me too much satisfaction, sorry not sorry.

I truly feel sorry for the rest of the cast and people who work on the show, but I’m glad to see the fandom response reflecting into the views ‘cause I feel like sometimes shows, especially with this amount of success and popularity, take for granted the viewers affection and think they can feed us any crap without consequences and we’re gonna eat it up with no problem, like we’re gonna stay here no matter what ‘cause we’re addicted to it…doesn’t work like that, you gotta keep your audience by giving them something good.

Each show loses viewers from pt.1 to pt.2 in the debut and it’s known, but basically half of it is a lot (also considering how pt. 1 stayed at n.1 in the top 10 for over 2 weeks, but only 1 week later pt. 2 has already dropped at n.3 with lowering compared to pt.1 who stayed consistent)

Considering that Outer Banks had always counted on a young and loyal fanbase GLOBALLY that’s ready to hit play the instant the season drops, 8.5 million views globally in 3 days is really a strong message to them.

Whether you’re personally ok or not with the way S4 ended, it’s a fact that they screwed up with a huge chunk of their own audience that kept the popularity of the show alive and if they managed to lose this amount of engagement and excitement towards the series in 3 days then good luck to them to keep the interest alive UNTIL 2026.

I think they downplayed and probably still downplay the role of JJ in terms of engagement, S4 already lost numbers compared to S3 (after they probably lost occasional viewers over the bore s3 was) and I can’t even imagine the drop that S5 will be.

They screwed up big time and no matter how much they try to do damage control now, no matter how much they wait for the audience to calm down, no matter how much they try to ignore it…they lost a good part of their own fanbase and probably occasional audience as well.

IF the waters are ever gonna calm down it surely won’t be ‘cause the problem is solved and people got over it, but simply because people won’t be there at all and will have lost their involvement with the show altogether.

Maybe the Pates will learn for their next project to treat the set like an actual workplace and not a college dorm. Play stupid games and win stupid prizes.

I mean it with my whole chest when I say that without JJ I’m never gonna watch S5, and I have been close to an addicted fan of this show for almost 5 years, but the story died with him. They took away the character that was the symbol of this show and who’s story we were rooting for the most, and although yes, there is also other things to the story…the interests in all the rest doesn’t quite measure up with the loss. I know that many people feel the same way (and if you reading this personally don’t, good for you but I think the general response speaks for itself).

They doomed the show by killing the fan favorite, killing the largest ship fandom of the show and by ruining the storyline that created the most engagement and curiosity that had us rooting for it.

They took for granted the fanbase that made the show what it is today and blindly spitted on us thinking we’d be passive about it. The fans make or break a show.

Bring back JJ and you have the opportunity to make the GAG of the century and get the biggest positive response from your own audience to end the show…don’t and see the show collapse and lose it’s reputation and legacy for good. Simple as that🤷🏻‍♀️

I will never shut up about it ‘cause this is the biggest fumble of a Netflix series I have ever witnessed and the biggest let down I have ever experienced with a show (yeah worse than Game of thrones final season).

[chiisana-sukima]

Hey so this post just came up on my dash and its an interesting perspective for sure. I was wondering if youd feel inclined to share your thoughts on it but no pressure ofc feel free to ignore.

https://www.tumblr.com/zudilio/648738136098275328/the-thing-is-that-i-miss-the-early-seasons?source=share

Yeah, I saw it on my dash too and considered reblogging with comments, but it's three years old and the OP has said in other posts that they're a "Sam ignorer", so I figured they wouldn't be appreciative. Also, to a certain extent, "they should've given the plot points I don't like to the character I don't care about" is just a matter of taste, so there's not a ton to say about that part anyways.

As far as the "Sam is like John because at the start of the show he's driven by anger and his need for revenge" part, my thoughts on it are here, and @ardentpoop and @aliusfrater have excellent meta here as well.

Leaving aside the piece where I think the OP is wrong about Sam though, I do agree with them that Dean's character arc was mismanaged, and I sympathize with them and all the other Dean girls (gn) who got stuck with *waves vaguely at spn in general*. I agree with OP that Dean isn't an inherently angry person. I don't believe inherently angry people exist, but even beyond that, I don't think the intended reading of spn is that Dean's story is about anger. Gamble said at some point very early on that on the inside Dean is a frightened little boy who never had the chance to grow up, and I do think spn carries that thread through the seasons pretty well all the way to s15, where it attempts (with not-great success imo) to resolve it.

Unfortunately, I also think that spn's failure to resolve Dean's character arc satisfactorily was inevitable, and that the things that attract many fans like OP, who identify with Dean, are the same things that made resolving his issues impossible given the set-up. Just as Sam has a realistic case of poorly-controlled, chronic dissociative/classic PTSD (with psychosis during s7 and some CPTSD-like features) and doesn't have the resources to manage it beyond bare-bones survival, Dean has pretty realistic untreated, chronic CPTSD/BPD without the resources to even begin to manage it in a way that doesn't destroy his own life and the lives of the people around him. Dean's violence stems ultimately from his childhood environment, sure, but the person he is by the time we meet him in s1 has severe attachment issues, difficulty regulating his emotions, poor distress tolerance, black and white thinking in a job where black and white thinking results in victimizing people based on factors they have no control over, and most of all, no real concept of boundaries whatsoever. The cause was for sure his childhood, but the present of spn is just a very symptomatic adult. His mental health issues--and Sam's too--are the kinds of chronic illnesses that never go away and that people struggle with over their entire lifespans.

I don't want to be overly negative; many people with mental illnesses this severe do learn to manage them well and live full and happy lives (I am, within reasonable limits, one of them). But it's hard. And longstanding, deeply-rooted patterns of thoughts, beliefs, and behavior don't change without community resources, considerable effort, and for most people, years of trial and error. Spn's main premise is, for some wild reason, that the problems Sam and Dean encounter are metaphorically equivalent to real life problems normal people encounter all the time, but that in the spn world, all of the resources real world people have available to help them are impossible to access, except guns and torture. It's s13 before spn manages to get Sam and Dean into ONE SESSION of therapy with someone they can tell the truth to, and by then, we get this:

Dean is being a lot less unrealistic here than one might think, and yes, this picture will end badly in real life too.

Since the finale, a lot of fans have said things like "Dean deserved to go to therapy and get better" or "spn thinks if you have trauma, you should kill yourself about it", but deserving is fake. We in the real world live in a The Good Place universe. There's no fair calculus for who "deserves" anything. Everyone both deserves health and happiness and love and a comfortable life and also deserves nothing because there are other people who have nothing.

And unlike ours, the spn universe is not a The Good Place universe. It's worse. The writers of spn are and always have been profoundly ungenerous. The whole universe is built on victim-blaming and bullshit calculi of what crimes deserve what punishments and who should or shouldn't mete them out. In the spn universe, Dean is lucky. He had not one, but two BPD favorite persons, and he treated them both like shit, and they still both loved him and wanted to be with him and will be with him in the afterlife, presumably continuing to have the same intense, volatile relationships they've always semi-tolerated.

I like to pretend that maybe Sam, Dean and Cas can all read The Dialectical Behavior Therapy Skills Workbook on Heaven's version of archive.org and take it to heart, or that maybe Sam grew some boundaries in the years he lived without Dean that he can insist on hard enough and long enough for Dean to get a reparative relationship out of, and they can all after-live happily ever after. But the Dean that was alive during the 15 years of spn hadn't done that work yet, and the outcome he got was--if one subscribes to "deserving" as a concept--better than what he "deserved". If you hit your partner, you deserve to be left. If you hold a gun on them, you deserve for it to go off and kill them by mistake and you never see them again (although of course they don't deserve to die). It doesn't matter who the "angry" partner in the relationship is. Any sane person in this universe or the spn one should be angry a lot of the time, because both universes suck. Not to beat a dead horse with a flowchart but:

image source

The violence is the bastard. The emotions are not.

[comicgeekery]

Sherlock and Shoscombe

So, after the deep dive I did with Sherlock & Co and the issues with the Case of Identity storyline, I thought it was only fair that I talk about their take on The Adventure at Shoscombe Old Place.

*Ahem*.....This was a lot of fun! I just looked up a summary of the original story because I didn't remember it well, and no wonder! It was the very last Sherlock Holmes story Doyle published, later collected into The Casebook, and thus...one of the boring ones. I'm sorry. I really don't like The Casebook stories. It's also the last batch of stories that the Doyle estate was clutching onto before Sherlock went fully into the public domain, which makes the story feel doubly tedious to me.

But! These episodes were a blast! Practically a survey of all the best parts of Sherlock & Co! There's fun banter! Heaps of character background! A really clever update to the original set-up! BRILLIANT acting and foley work! A cheeky cameo! And a truly exciting, satisfying end! I think this is the most direct information we've gotten about John's past since, well ever, but certainly since we learned about his memories of his dad. Now we know that he grew up in a very class-divided town that once felt so much bigger. And he was deeply in love once, with a woman he lost partially because of classism. (Which is such a great mirror for Beatrice and her husband's situation!) He also lost his friends because they had privileges he didn't. (Did John join the military partly as a way to get away from his roots? Out of a desperate need to be praised as a hero?)

No wonder John has so much resentment for the wealthy when it's so deeply personal. I think it's going to be comically awkward and VERY interesting when he finds out that Sherlock is mega super rich. Holmes is often theorized to be the son of a lord in canon. I figure he's at least from a wealthy family that was able to pay for him to go to tons of fancy schools. And then personal tutors. And a full-time staff that always took care of cleaning and stocking up the groceries. (For all his observation skills, I do think Sherlock grew up never considering who made his household run.) I think part of why Sherlock has been so touchy about John's anger at rich people is because Sherlock is SUPER nervous it would ruin their friendship. I am also so pumped to see what the podcast does with Mycroft! I wonder if his autism might be more limiting than Sherlock's. Like he's got the genius skills, he's got the deceptively powerful government job, but he can't handle going out into the world. Going to Baker Street would be an ordeal. Might have a full meltdown if he's not at home, work, or whatever the Diogenes Club is updated to. But.....It's hard to tell how much Sherlock & Co wants us to suspend our disbelief about some things. John and Sherlock have very clearly committed a LOT of crimes on their publicly available podcast. Maybe that will never be addressed or MAYBE Sherlock, Mycroft, or other Holmes allies have been bribing and intervening to keep them from getting arrested. Imagine the drama! "You hate the rich, but you owe all your success to MY money and power, 'Dr.' John Watson!" *Blinks rapidly*

Where was I? Oh yeah, Shoscombe. That. God. Damn. Chase. Scene! So bold for a podcast to have a climax with a car chase at the center. The foley work was top-notch for the driving and the terrain and then the crash and sinking in the lake. Whoever plays John Watson, you did an incredible job! The reckless car chase where, OF COURSE, he still narrates everything, the diving for Robert (and the clever layer of the recorder fritzing), and that CPR! It was all so engaging and believable! I love when John does doctor stuff generally, but this was my favorite example since the gunshot wound at the wedding with The Solitary Cyclist. Not sure I buy Robert's at-home crematorium as being 100% good, but I can believe John thinks so. Might help that John's a bit more desensitized to cutting into corpses than most folks. Finally, I'm sure folks are quite excited that a certain James made a cameo. (Maybe he's interested in why Sherlock and John keep getting away with all their crimes.) I knew he was going to show up at some point, and making Moriarty a listener shout-out is delightful. I just hope it's a while longer before he's ON the show. It always frustrates me when Moriarty winds up becoming basically Lex Luthor. Then again, we've already had similar cameos for Irene Adler and Baskerville Hall (and probably some I've missed) without them showing up yet. We'll see how it goes!

Good job, Sherlock & Co! I'm excited to see what you do next!

[raven-at-the-writing-desk]

With Playful land ending soon, can you try which part of the Halloween event is better which is either Playful Land or Glorious Masquerade? For example, the topic is characters and you picked Glorious Masquerade because of etc like that. (NRC cast design, NRC cast role, Yuu and Grimm's role, New character/s, Movie-inspiration event, Plot, Music, Place Setting, Opening, Ending) You can add more topics if you want.

By “better”, I’m going to assume you mean which (between Glorious Masquerade and Stage in Playful Land) I preferred in each of those categories? (I say "preferred" here because I'm judging based on my own tastes; obviously everyone will have a different opinion on how the two events compare.)

It’s quite a few to get through, so I’ll just quickly summarize each. This post will also serve as my general thoughts on Stage in Playful Land.

***Spoilers for those two events below the cut!!***

NRC cast design — I’d say the designs are pretty split down the center?? In theory, I love the concept of masquerade balls and marionettes, but in practice the designs look all over the place and I really only like a select few of them.

NRC cast role — GloMasq was stronger in this, especially the choices for the SSR trio. Malleus and Idia are a deliberate rival and foil to Rollo, whereas Azul’s UM comes in clutch during the final showdown. Meanwhile in Playful Land only Kalim seemed to be very significant story-wise; he was the one trying to convince everyone to sit down, eat, and try to understand Fellow’s motives, is the last to be captured, and gives the big speech about how he’ll never abandon his friends + the importance of school. Ace has his usual schtick of being brutally honest and there are some parts where Ortho’s robotic abilities come in handy (like playing sounds to distract the puppets), but these seem like very minor roles compared to what the GloMasq trio did. Perhaps they were good choices for the end when they all decided to destroy the amusement park though??

I also feel like some things the SSR trio does in Playful Land (like dispersing the puppets by using a “lost item”) could have been done by any smart or deceptive character (Leona, Vil, Cater, etc.), not just the SSRs (ie Ace). Furthermore, the other cast members in GloMasq seem much more important in how they split off and battle—there are good reasons or synergy given as to why they pair up the way they did (ie Riddle and Epel needing to be good flyers, Ruggie and Jamil willing to use others as meat shields, etc), while in Playful Land it seems more random (like Floyd losing interest) or obligatory (mostly the third years stepping up to defend the younger students).

It’s also anticlimactic how Fellow just let them all go??? Especially compared to Malleus, Idia, and Azul and Rollo squaring off to the bitter end.

Yuu and Grim’s role — Once again, this goes to GloMasq. In Playful Land, Yuu is automatically caged and tossed into a corner to wait it out to the climax. At least in GloMasq Yuu is actually doing something (even if it is offscreen): they’re with Grim and Trein, helping the townspeople from the flowers. (Note: I’m not entertaining the “but Yuu is magicless! It was a wasted opportunity for them not to have a bigger role in GloMasq!” thing because I’m talking only about canon and not hypotheticals here.)

New character(s) — … Do you even need to ask 😭 Obviously, I’m loyal to Roro-chan Rollo; I just find his story and character to be super interesting, especially with the root of his conflict being inner turmoil and an inability to move on… It makes him an excellent foil to Idia.

While I do also enjoy Fellow and Gidel, I feel that I’m not as invested in them because despite the terrible dark shit they're doing, the conflict they get wrapped up in gets resolved in an underwhelming manner. Plus, there was not a lot of elaboration on their own backstories?? It was mostly told to us via Fellow, yet kept so vague that the fans are left to fill in many missing details on their own. I’ll have another post out later going into more depth with how I feel about Fellow and Gidel.

Movie-inspiration — I think both events have their moments of film inspiration. A lot of GloMasq's comes through in the traditions and culture of the city, whereas Playful Land's are embedded into the games, foods, rides, and attractions in the park itself. Playful Land feels more overt because of how flashy everything is, but also because it's not really based on any real-world area (unlike the City of Flowers/Fleur City, which is fantasy Paris and therefore also has Paris elements) it has to stand on its own. They don't need to worry about developing a unique "culture" for a smaller area like a park; they can just cut loose and have everything be fun and whimsical like Pleasure Island is. For this reason, I feel that Playful Land has stronger movie ties.

Side note: I want to put out the disclaimer that I personally don’t think how much an event references its source material should be counted when evaluating the quality of its writing. Just because you mention things from the film or reinterpret them doesn’t mean the story itself is good.

Music — I’m going to give this one to Glorious Masquerade because while the tracks are nice for both (I love the dramatic bells in GloMasq and the eerie music box of Playful Land, and both songs with lyrics are also great!). However, the narrative context and meaning behind the songs with lyrics are very different, and I feel that this makes Let My Wish Resound performance that much more meaningful. Additionally, Playful Land introduced a sung version of Rave Up! Up! in part 3 (even if it was just the first half of it) whereas GloMasq saved its sung version for part 5, which grants us more time to get hype. (I also like the rhythmic/twistune of the boys dancing over the boys… idk, dancing and doing property damage for funsies.)

Opening — Both openings do a good job at building up the hype for the ominous events to come, but again GloMasq wins on a technicality… which is the quality of the evil laughs given during them 💀 Fellow’s is kinda weak (like it stutters and sounds like he’s out of breath), at least Rollo can do a slow, unabashed laugh like a proper villain/j

Setting — This one’s suuuuper subjective; I don’t really like amusement parks I know, I’m boring so that automatically means I don’t find Playful Land to be a compelling or interesting setting (even if it fits thematically). I’d much rather just be allowed to wander and explore a city unsupervised, get to learn about its history and culture by experiencing it myself. GloMasq’s City of Flowers/Fleur City allows Twisted Wonderland to be expanded so much more (like, thinking about how this city relates to other cities and countries), whereas one isolated floating park doesn’t add much to the overall world lore.

Plot — Playful Land was so… boring 🤡 I’M SORRY, IT’S TRUE (to me)????? Like, they were just aimlessly wandering around during the second half of the event (even though it should be obvious that Fellow is at the theater)???? While at least in GloMasq they knew where to go (the bell tower) right away and strategized around that… Plus, we keep switching perspectives between the captured boys and the action, which bogs down the pacing. GloMasq keeps the action going and only takes very brief pauses to check in on our villain for the evening. There was way too much time spent meandering and not enough time spent actually Doing Things in Playful Land.

Stakes — GloMasq’s were higher. This isn’t to say that higher stakes automatically means the event itself is good. It’s just that the same urgency isn’t present in Playful Land because the scope of it is not as grand. If the crimson flowers/fire lotuses spread, there is no stopping them—and it endangers many people, communities, industries, etc. if they do. Meanwhile, a handful of people go missing in Playful Land. It’s still tragic, and their losses will still impact their loved ones—however, that’s still on a smaller scale than what the flowers would have done to their world.

Ending — GloMasq trumps. It’s just perfect how Rollo indicates he won’t give up and then drops ominous lines foreshadowing Malleus bringing ruin to them all (ie book 7) 😂 Love the pettiness of the banter, the ballroom setting, the perfectly timed delivery of the gift/song, and especially how Rollo’s punishment was so perfectly fitting for someone as neurotic and self-righteous as he is!! Also loved little details like the gargoyle and Trein wanting to keep an eye on Rollo 💕

The conflict resolution for Playful Land felt like a deus ex machina…? Fellow’s literally about to win (he caught them all) and the boys get let off the hook because Fellow had a change of heart. The boss told him it will cost a lot to repair the destroyed puppets so it’s coming out of his paycheck… That, and I guess all the stuff the boys were saying about how great school is finally got to him? Fellow got so fed up he called the whole thing off???? So he releases everyone and they all go around busting up the park???? I mean, they did foreshadow it by pointing out earlier how Fellow isn’t loyal to his boss + showing more phone calls where the boss is getting increasingly annoyed 💦 so it’s not as anticlimactic as Endless Halloween Night (one of my least liked events). I just mainly dislike how the conflict is triggered in part by Fellow’s boss being rude 😭 Like damn, what if his final straw hadn’t been claimed??? Then everyone is screwed.

At the very end, Fellow and Gidel decide to go on the run?? Which… isn’t an easy thing to do but it’s hand waved away so fast. If the staff meant for it to feel this way because the original Pinocchio also left Honest John and Gideon’s fates ambiguous and they did show remorse for their victims 💦 idk, it’s cases like this that make me think TWST is at its best when it does more of its own thing rather than strongly stick to the source material…

I also have?? Mixed thoughts on how TWST doesn’t follow up on the whole “yeah a bunch of rich people are caught up in running a human trafficking operation using this scary ass magic”. I know crime must exist in TWST, so in a sense this is… realistic??? But it feels odd to see such a big thing being casually mentioned and not being treated with full gravity?? (Maybe these are the types of crimes that special mage police defense forces (like the one Deuce wants to join) investigate??) Guess that’s just going to sit in the back of our heads from now on… It’s not satisfying seeing a story “end” like this, but I understand why it had to be 😭

The cathartic release of breaking down the park that once trapped them all is fun, but too goofy. I know it symbolizes a lot more than that, but it’s just not for me.

And so (to no one's surprise, given the frequency with which I talk about R*llo), I much prefer Glorious Masquerade to Stage in Playful Land. It's not even a contest to me. A certain pseudo-French boy aside, I just think the former has much better writing overall. By comparison, Stage in Playful Land has a very strong aesthetic and start, but not much else to keep me engaged??? It was an entertaining if not mid event aside from the big scare when the twist is initially revealed (because none of us expected it to be that dark) and minor other parts like Kalim’s big speech. The rest of the event felt like walking around and not doing anything useful.

I honestly think the failure of Playful Land to execute on its ideas comes in part from the hype of Halloween events (like, so much attention is put onto them that when Halloween events flop, it is SUPER noticeable) and the legacy of GloMasq (which set the bar VERY high) 💦 A shame, really…

Anyway, round of applause for Roro, who stays winnin’--

[duchezss]

All my favorite moments in blue beetle: a very long and silly list because this is my new fav movie ever (latinos on top fr)

The fact that the entire movie is low key a representation of how lost people can feel after they finish college and don't know what to do with their life.

How celebrated it is that Jaime is a first gen college student

As much as I loved him being from el paso, I love that he now gets his own city that it still deeply rooted in latino culture

How despite the fact that everything is going bad for the family, Jaime still tries to keep moral up and be positive

Jaime stands up for Jenny without thinking

How his persistence is what ends him landing up with the scarab, and subsequently keeping it out of victorias hands

Am I allowed to say his entire family? The scene where they're all pushing him to open to the box was so funny. Their dynamic felt so real, and it makes even more sense because apparently any time they were bickering it was improv.

How well the movie handled micro-aggressions against latinos. Like the receptionist didn't even attempt Jaime name, and how Victoria would never get her scientist's name right. They are subtle, but very real problems.

Maybe this was just me, but from the trailers I thought Jenny and Jaime already new each other, but I liked that they just met. It made their story more interesting.

The body horror route they decided to take with the suit was so cool.

The suit in general. I missed practical suits so much, and it just looked so amazing.

Another thing, that has already been talked about a lot but idc, is that I still am so in love that his family knows from the get go. Of course it wasn't really his choice, but I love how there is never any big secret, and they are constantly in the picture.

I know the Khaji-Da doesn't have as much personality compared to the comics, but the whole sequence where Jaime first gets the suit was so funny.

Notoriously in the comics the beetles were sent out to worlds to be the harbingers for their creator species to invade said world. I loved the small detail in the intro of the blue beetle crashing into the green beetle and then having a flash of electricity. I wonder if that was to hint at a malfunction, since the Khaji-Da never goes to evil with Jaime.

I love Rudy's truck. It's stupid but that's why it's so good.

The whole family debrief was was funnier than it should've been, and the beetle on Jaime spine looked wicked as well.

I thought it was interesting how much of a presence Ted Kord had on the movie, mainly because. of Jenny, but it was still there.

Every. Single. Latino. Reference. I could barely keep up there were so many good ones omg, the details were amazing.

For Jenny being an original character I thought she was done very well

I love how Rudy was useful and basically got them into kord industries.

I love the way we only see Jaime eyes in the suit. It's a different approach to what we've seen with masked heroes so far and I love it

How much they talked about the first two blue beetles, I thought adding that context made it better

They made it very evident how lonely Jenny feels, and I think her small emotional moments really paid off in the end.

I love how Jaime was so openly affectionate with both Rudy and his father, it's something uncommon with men in latino cultures and I loved seeing it.

The entire sequence where Jaime's house was being raided was so uncomfortable. And it was in moments like this were I thought Soto did a great job of weaving real world problems latinos face within a superhero movie.

The moment when Jaime's father had a heart attack, and Jaime was being dragged away, and his sister was screaming was just so heartbreaking and powerful. All of them were hurting so much.

I loved how active his family was, and how all of them immediately went to go rescue him.

Side note: the bug ship looked so cool and goofy and I loved it so much

How Jose was actually very curious about Jaime's connection to the beetle, but Victoria didn't care

The whole dream scene with Jaime and his father. I thought it perfectly mirrored their conversation from the beginning of the movie, and I thought it was incredibly moving. Not to mention I loved the detail of Jaime wearing the last outfit he saw his father in.

I loved that Jaime saved himself, but that his family greatly aided him. I thought it was a great metaphor for the fact that you can do things on your own, but having support can really make the difference

I thought it was so funny that Jaime absolutely refused to kill, and his family members did it was a smile on their face lmaoo.

I know it's cheesy, but I always love it in superhero movies when the main character finally accepts their destiny and it was a very cool moment for Jaime too. But I will say I think they did it with an interesting approach. For most superhero movies the big moment is the superhero finally deciding to go out of their way and fight the big bad, but in this movie he just finally fights what's right in front of him.

How once Jaime accepted himself as the Blue Beetle, Khaji-Da started speaking to him in spanish and adopted his ideologies, further proving their relationship is a two way street.

I loved that Khaji-Da stopped Jaime from killing Carapax, because he was justifiable angry, but he would've regretted it at some point

The low key plot twist of the locket Carapax had not being his wife and child, but being him and his mother. That was genius tbh.

I loved that Jaime had the iconic 2000s superhero half masked fight. This movie felt so 2000's but in the best way possible.

How the entire final act was circling back to the point of loving his family making him weak, but throughout everything we've seen, it's clearly the opposite.

I liked how once Jaime bonded with Khaji his mask would come on and off on command.

How Jaime started wearing his father's necklace in the ending :(

I loved the entire score so much, the synth wave vibe they decided to take was fantastic. I also love how iconic and recognizable they made blue beetle's main theme. Like the bum bum bummm that kept showing up was so good.

I really loved how they aged Jaime up to 22 as a newly college grad. I feel like superheros are always either 16 or 40 and there's never any in between, so it was nice to see.

And for my last point to a very long list: I loved that in the end Carapax helped Jaime and Jenny. Because the real villain was Victoria making them fight each other, and in my opinion that was such a powerful metaphor for latinos and any pocs

[musicalmoritz]

Why do u think that teru has a crush on aoi instead of Akane? I mean, I try to be realistic, but he doesn't seem interested in her and Akane is the one who he acts like he truly is. It can also be platonic, but I see more realistic that or even Teru would lie and he actually doesn't have a crush anyone that he having a crush on Aoi. I try to squish my mind trying to figure out how he can like her, but it's just no-sense. I've read a few analysis but they are too general, if teruaoi is canon would be bad-writed imo.

Other thing that I think is like, really Teru would fight for a girl with Akane? I know that most likely he doesn't have intentions to take away her from him, hes just kidding but... All his development and trust with Akane would be initially for a girl? Really?

Another thing I was wondering is what why would Aidairo make aoi's surname as akanes name and vice versa, I mean, if the joke was that Aoi would end up being "aoi aoi" if she marry him, wouldn't be necessary that her name was "Akane". Mainly the person who calls them by theirs surnames instead of their name is Teru, so would be like a foreshadowing that when he said that he likes Aoi was referring to Akane? It could be just a silly joke but idk I'm overthinking and being desilutional but I hope I explain it well sorry

I’m so glad you asked this, I’ve been meaning to explain why I think Teru likes Aoi!! I was shocked by my recent poll, I knew Terukane was popular but I didn’t realize so many people expect it to be canon. I ship them too but I’ve been trying not to get my hopes up

First of all, I am not AidaIro. Teru very much could have a crush on Akane, or he might not like anyone at all (though I do strongly believe he likes one of the Aois). I used to believe it was Akane, but the recent arc has made me change my mind. I’ll explain why

First off, a lot of fans point out Teru using Aoi to tease Akane as evidence that he cares more about getting a reaction out of Akane than Aoi herself. I initially believed this, but let’s look at it this way. Most of Akane and Teru’s significant scenes reference Aoi in someway. If they’re not talking about saving her, Teru is threatening to steal her away or Akane is talking about her. This is similar to how most Kou and Nene interactions mention Hanako or Mitsuba. AidaIro doesn’t want us to root for them as a ship, so they have the characters talk about their love interests to reaffirm that they aren’t endgame. When Akane and Aoi talk one-on-one, they don’t really mention Teru unless Aoi is trying to make Akane jealous (ex: the “you, me, and Minamoto-senpai scene). And when Teru and Aoi talk in ASHK, Akane is never mentioned

It’s also worth noting that this chapter happens fairly early on in the manga. Right when Teru and Akane’s dynamic is first being established, before they’re even close, there are hints of them fighting over Aoi

I say they weren’t close because in this scene, Akane was surprised that Teru came to save him. At this point in the manga, he only thinks of Teru as his sadistic upperclassman. I will say that Teru seems to have more of a soft spot for Akane, which points towards evidence of Akane being his crush. Again, I feel like it could be either of the Aois, but I’m talking specifically about TeruAoi rn so this ain’t about Akane. The Terukane dynamic has most definitely deepened throughout the manga, but at this point in the story Akane didn’t think Teru would bother to save him. Meaning that before Teru and Akane’s relationship is developed, we’re introduced to the possibility of them liking the same girl

And I hate to say it, but Teru and Akane’s rivalry is largely fueled by their mutual love for Aoi. There are other factors too of course, in general the two just love to compete. Then there’s the exorcist/supernatural assistant dynamic. But let’s look at my favorite Terukane scene. In this chapter, Teru felt totally defeated. He opened up to Akane about how he felt like he was wasting his life, and that there was no point to any of his efforts. And how does Akane motivate him? By bringing up Aoi. This gives Teru the motivation to continue fighting

They keep up the bit on the train, this time Teru is the one to bring up Aoi. Now, this could obviously be just two friends joking around, but consider that it started right after Akane pointed out Teru’s “genuine feelings” for Aoi. He came to the conclusion that Teru liked Aoi, and he used that to motivate him. In the end, it worked, which leads me to believe that Akane was right

This scene might be my strongest piece of evidence. The intention here was to draw parallels between Hanako and Teru, to point out their mutual hypocrisy. Hanako is trying to kill Aoi, and to make him understand how wrong that is, Teru threatens to kill the girl he loves. He calls him a hypocrite for being sad over the threat of Nene dying when he’s trying to do the same thing to Aoi. Really, Teru is trying to make Hanako see his side of things here. He’s trying to show him that it doesn’t feel so good when someone tries to kill the girl you love

Now let’s look at Teru and Aoi’s actual dynamic. We don’t see much of it, but the gag is that Teru is really fond of Aoi and Aoi doesn’t think much of Teru. She doesn’t hate him, but she’s indifferent towards him. He’s not someone she would willingly choose to hang out with. But in this chapter of ASHK, they do hang out- by Teru’s doing. He is introduced in this scene as being exhausted from a long night of exorcism, and yet he perks up the second he sees Aoi. He follows her around and tries to get her to hang out with him longer, despite his initial fatigue

And he’s so!! Excited about it!! He wants to make gummies with her. They are so cute to me

As for WHY Teru likes Aoi, I believe this scene explains it well enough. He understands her, which is more than most people can say. Both of them hide their true personalities to present a persona of perfection to the school. Teru sees their similarities and he finds comfort in that. Eventually, Aoi does too, as she ends up making gummies with him all night

We see in this bonus page that Aoi views Teru as a puppy-eyed, loyal dog. He seems to follow her around and try to win her approval during school, which confuses her. As aforementioned it seems to be very one-sided on Teru’s side, but this is canonically how he treats Aoi. Much like someone trying to earn their crush’s attention

Then we have the most recent arc, which is what fully sold me on Teru having a crush on Aoi. The last chapter firmly established that Teru doesn’t see the Aoi from the new timeline as Aoi. She is a different person with different life experiences, not the girl he knew before. He even criticizes Akane for treating her the same as the original Aoi

…Which would explain his discomfort during their date. He finally gets to be with the girl he loves, except she’s not the girl he loves. She’s someone who has lived an entirely different life, and on top of that he knows he’s not the one she wants. Teru would be happy with Aoi, but Aoi wouldn’t be happy with Teru. We already know that Teru is a very self-sacrificial person, he puts himself last when it comes to protecting the ones he loves. It’s no surprise that he’s like that with romantic love as well. If Aoi doesn’t want him, then he’ll do everything in his power to make sure she gets her happy ending with Akane. That includes making sure Akane stays determined to return to the original timeline, even when this new one is perfect for Teru (he has his mom, his dad is home, he has free time, and he gets to marry Aoi)

This is the panel that confirmed it for me. Teru is surprised that this version of him isn’t in love with Aoi. Why would that be surprising for him unless he’s in love with Aoi?? He says himself that it doesn’t make sense for a version of him not to be in love with Aoi. Genuinely wondering what TeruAoi deniers’ explanation is for this scene lol

As for the bad writing thing…yeah, it’s a little disappointing for a series that so heavily focuses on romance. If this were Naruto or Demon Slayer then TeruAoi would have enough content to be endgame, but for TBHK this is very unusual. That’s part of why I’m still holding onto the off chance that Terukane becomes canon instead. But keep in mind that TeruAoi likely won’t be endgame, AoiAoi has been set up since the beginning and Aoi doesn’t like Teru back. For a one-sided pairing I’m not too concerned with how it’s set up. It is annoying though since his feelings have been teased so consistently and yet we don’t really have anything for them outside of ASHK and a few gag scenes (up until very recently at least). I’m hoping that when Teru’s feelings get confirmed, there will be some sort of flashback to show when he fell for Aoi and why he likes her so much, beyond what’s already been hinted at

I’m not sure about the name thing tbh, I don’t think it has any purpose other than drawing a connection between Aoi and Akane. They’re so perfect for each other even their names match, or something like that. It could be foreshadowing, but only time will tell

I want to add that I don’t mean to discredit the Terukane theory at all here, you asked why I believe Teru likes Aoi so I gave all my evidence. I have already written an essay on TikTok on how Teru could potentially like Akane, and I don’t really feel like repeating all that right now lol. I see both sides, and I’m eager to find out which one Teru likes. Obviously I would prefer it to be Akane, they have a much stronger connection and that would be a much more gut wrenching plot twist. Teru liking Aoi seems a bit too obvious but it also seems to be the route AidaIro are going with the recent chapters. I’m hoping we’ll get solid confirmation of who he likes when he enters the Red House, seeing as it shows people what they want most. I’m always rooting for more queer rep so if Teru gets confirmed to be gay, I will happily cheer and stop shipping him with women. But for now it’s all very up in the air, I’ll be happy no matter who he likes but I hope this series surprises me. Also this explanation is nowhere near as articulate as I wanted it to be because I am very tired right now but I hope I got my point across

[andarans]

light, death, and the commedia dell’arte: an analysis on lucanis’ name symbolism and what that may mean for his arc & endings

i was doing some thinking on lucanis’ name recently, and there was something that i knew felt familiar from my days in high school latin class, so i did some digging and now i feel like i may be onto something in regards to what lucanis’ character arc and companion quest could be about. from what i could research online—and definitely feel free to correct me if i got any translations wrong:

‘lucanis’ has associations with light/dawn. lucania was the name of a historical region in southern italy. just a quick overview from wikipedia:

Historians at University of Naples Eastern Studies concluded that the root of the name Lucania is derived from luc, the Osco-Sabellic peoples word for light, which has the same meaning in the Latin idiom. The people that moved from the Osco-Sabellic tribes to occupy the land east of the Sillaro River, which was an area associated with the morning star, Lucifer (Latin for bringer of light). Therefore, Lucania means eastern land or land from which there is light.

what sticks out to me most of course is the parallel with lucifer, which i’ll discuss more about later—but the main takeaway is that his given name is pretty much embodying the idea of light, consistent with ideas of hope/dawn/renewal.

but his surname has a very different tone and connotation. ‘dellamorte’ means ‘from/of death’ in italian. (again, if any italian speakers have a better translation, pls feel free to correct/expand on this!)

juxtaposing these two names together is a very interesting choice, and one i think was definitely intentional. you could think of his full name either being something hopeful (light after death / from death, light) or something sinister (from light, death / the death of light).

and i feel like this dual nature is exactly what his arc will explore. we know lucanis has magic-sensing abilities and from the latest trailer, straight up magical wings—it gives me a lot of “angel of death” vibes with, again, using the purple color of pride demons to highlight the bone structure. and of course a lot of pride demon imagery with eye motifs in his design + tarot card:

we learn that he has died from the short story The Wake. a lot of people have speculated that he faked his death, but what if lucanis did actually die? what if, on the verge of death, he made a deal with a pride demon to continue living?

what if lucanis’ arc is one of struggle to embrace either light or death? will rook be able to influence lucanis’ fate—be a vessel for the demon, be a death bringer, or free him from its influence, choosing to bring light instead? and this is where that “lucifer” dynamic kicks in. lucifer, a fallen angel, who rebelled against his father. will his arc mirror this with potentially him rebelling against caterina?

and then an interesting tidbit from the commedia dell’arte—and i might be totally overthinking this, but i thought it was interesting to mention nonetheless. commedia dell’arte is an italian form of theatre focused on masked type/stock characters.

from folk play research’s “Death and Resurrection in the English folk play and Italian Commedia dell’Arte”:

A common theme that runs through both the English folk play and many of the stories of the Italian Commedia dell'Arte is that of death and resurrection. In the latter, this generally involves the character or 'mask' of Pulcinella/Punchinello, who is frequently killed through misadventure or executed as a result of some misdemeanor, but revived through some intervention, usually magical or demonic.

pulcinella’s mask does give me crow vibes…

however his arc may play out, i’m really excited to see. i think he’s most definitely has something going on with spirits/demons, and we have had a spirit companion in some way every game, so i think lucanis could be a really interesting addition to that list 👀 what do you think?

[devsgames]

Open-World AI Design: On The Conflict Between Systemic and Scripted Behaviours

I've been playing Skyrim recently, and having not played it for over a decade one thing that has really been standing out to me is how painfully stilted the scripted NPC interactions are in the game. Seeing just how rough these sequences are reminded me of my own experiences designing non-systemic moments in primarily systemic-open world games, and I wanted to reflect on that.

Disclaimer: I recognize that "Why does the AI in this open world game suck?!" is a common complaint The Gamers have and that it's not a new observation by any stretch, and please don't misconstrue me as bashing A Thing You Like. You can still like it. It's fine. I just think it's interesting how the needs and philosophy of open-world AI often encroach upon and affect the execution of highly scripted sequences in open-world games like these.

THE PROBLEM: SCRIPTED INTERACTIONS

Here's a clip of a sequence from my playthrough of Skyrim that illustrates part of the problem. For context, this sequence occurs at the end of a quest chain wherein you help an old and sick alchemist and his apprentice create an ancient artifact he's been trying to make for his entire life:

I think there's a lot of things that are incredibly lifeless (haha!) in the execution here:

The apprentice is standing at the foot of the bed and not next to it, while the mentor is sleeping on his side and not even looking at him.

The transition from Sleeping -> Ragdoll death when the mentor dies looks REALLY goofy.

The phial the apprentice explicitly mentioned as 'filling up' isn't visible anywhere in the scene at all.

The sudden transition from death -> NPC approach -> conversation leaves no room to organically breathe.

The narrative feels incredibly serious and sombre, but the execution is so hard to take seriously.

The ambient music is jaunty and heroic, when tonally the interaction is very sad.

The player doesn't really have much to do here, aside from stare in the corner while waiting for two AI to talk.

The narrative feels incredibly serious and sombre, but the execution is so whiplash-y and abrupt it's hard to take the outcome seriously.

Now first I want to preface that there's a few obvious causes for some of the awkward 'genericness' of this scene, much of which is rooted in more standard production/resources issues with any AAA open-world game. For example, creating an animation of someone holding the phial in question while it fills up would be too expensive to justify creating for just one side quest, only for it to never be used again. While it certainly doesn't help the sequence, I think there's always varying degrees of 'eh whatever it's a video game' plausible deniability that happen here among players too, and it's always understandable that elements like these might fall absent from this scene as a result. It's also a dang video game from 2011, so that certainly doesn't help.

Aside from that, I think a big issue in realizing scripted sequences in open world games like this stems primarily from open-world AI and interactions are often fundamentally at odds with these types of scripted scenes, which in turn reflect poorly on the implementation of the latter.

WHY SYSTEMIC AI?

To understand why scripted sequences can easily feel stunted it's helpful to look at what an AI in an open world context is most frequently expected to do, because it's the baseline of how an AI performs in an open-world game.

In a traditional game a "bandit" AI might only really need to do basic behaviours that have concrete and easily-defined outcomes, such as search for a player and attack them until they die.

In an open-world game like Skyrim an AI primarily has to act believably in an open world where almost anything is liable to happen. A "bandit" in an open-world context would need to keep a running track who is hostile and who is friendly (based on a variety of different changing parameters), pick and choose different locations to travel from organically, travel to potentially unknown locations across a persistent world, use modular systemic behaviours in a way that still appear organic and unique, remember which points it needs to be travelling to and from, what areas it can and cannot go, flee from combat, understand what objects in the world it can and can't interact with, and a lot lot more on top of that. What's more is every AI in the game have to run these same calculations themselves at all time about everything around them - there's a ton of moving parts and AI with different objectives and executions operating at the same time. This is also why systemic AI in open-world games tend to suck - because an open world is inevitably going to write realism cheques that no AI can feasibly cash because there's so much going on in an open-world game.

However there's also good reason why all this complexity is necessary! Killing a bandit who is stationed idly at a guard post in his camp is passable encounter, but killing a bandit who accidentally draws aggression from a patrolling sabre cat from the forest nearby his guard post creates a story out of what was otherwise just an okay encounter. These systemic behaviours are often what people like and expect to see in open-world games to give the world flavour.

On Far Cry there was a name for this sort of concept: the "anecdote factory" - the idea that any sort of emergent experience should make up a fun 'anecdote' for people to talk about and reflect on afterwards, and this approach to AI design is usually built to supports those systemic and organic narratives. This systemic-first AI design is a large draw of what makes open-world games what they are - without this the whole world easily can feel rigid, predictable, and lifeless.

Now this is all well and good, I hear you say, but weren't you just complaining about scripted sequences? Why are you talking about systemic AI? How are these two even related to each other?

Well herein lies the issue: what happens when your immensely systems-based AI needs to do one hyper-specific thing exactly as you planned?

THE FRICTION: SYSTEMIC VS. SCRIPTED

Scripted AI design is often a philosophical counter to systems-driven AI - while a systemic open-world AI needs to calculate many different elements and act out generic AI behaviours on the fly, scripted AI often needs to successfully do a sequence of bespoke behaviours the same way every single time, usually in relation to a larger narrative or sequence.

This causes friction - potentially a lot of friction, depending on the implementation.

The initial assumption most people would have is that if a designer really needs an AI to do one thing perfectly, then they should just force the AI to do it! After all, if it's that important, then why not make absolutely sure it gets done? However, the problem with this approach is that forcing an open-world AI to do just one thing actually makes the AI less realistic in context of an open world game.

In the above scene lets say the player hates the apprentice and decides to blast the apprentice with a fireball while he was speaking to his master. They'd then logically expect the apprentice to react to being hurt by the player and become hostile (as anyone would be, if hit with a fireball). This would be expected to break the sequence as combat would ensue as the apprentice tries to get revenge. This is believable, as it would make the apprentice feel more like an actual human being with the desire to not die. If by contrast the apprentice was forcibly scripted to perform his lines and execute the behaviour like nothing happened, it would feel even worse! This is why most open-world games will actually almost never force AI to perform scripted behaviours if they can help it, because it usually reflects poorly on the intelligence of your AI should anything else happen during the execution of the event.

Unfortunately, the tradeoff to ensuring scripted AI still abide by systemic rules is it means that scripted AI are now expected to perform actions are now operating at the whim of systems, which may choose to override it at any time. For example, if the systemic AI overrides the scripted component of the AI, the apprentice may get distracted by something (a passing enemy, a wandering animal, a stray arrow from nearby combat, etc.) and not complete the sequence as it was intended. This might not seem like a major issue, but keep in mind that a scripted AI failing to perform a task usually results in a sequence break - which in terms of scripted sequences can break a player's entire playthrough. It also reflects poorly on narrative, when scenes of narrative importance might be undermined by systemic nonsense that may happen.

Whenever mission designers witnessed these sort of behaviours on Far Cry the inside joke was that we were just abiding by the "anecdote factory" philosophy. After all, the AI was acting systemically by-design - it just so happened that the anecdote was that a systemic behaviour distracted them. :)

In fact on the production of Far Cry 6 I spent actual months troubleshooting and wrangling AI that just would not adhere to scripted sequences due to the overriding of systemic AI behaviours. For every minute you spend in a scripted sequence you can bet there was hours and hours and hours of unseen troubleshooting behind it!

Now what does any of this have to do with how awkward this conversation looks?

The philosophy of your game design extends downward, and systems-driven is no exception. Instead of using special, bespoke behaviours in quests it becomes cheaper and safer to bank on existing systemic that are widely tested instead of trying to push the limits of what an AI can do. Remember that a sequence failing to execute can block a player's progression entirely, or alternatively result in a ton of work or additional bugs for a level designer putting them together. Safe execution is usually the #1 priority, and that's a tough thing when lots of your scripted implementation is relying on the tech equivalent of shoestring and bubblegum holding it all together.

Even this small scene reflects the drawbacks of a systems-driven philosophy. A good example here is when the mentor dies - he doesn't smoothly transition into a 'death' state, or lie still with his eyes closed, or something more appropriate. Instead, he pops into a ragdoll and plays his generic death sound effect, because his AI is adopting the same generic systemic 'death' actions any AI in the game would. It's how an AI was designed to die from the ground up across the board, so this AI has to die like that for the rest of the game's systems to properly work around it. It could look cleaner, it could look nicer, but for a scripted sequence in a system-driven game it just needs to work.

You'll also notice the apprentice doesn't have any particular uniqueness to his behaviours around the master. He doesn't kneel next to the bed, or do much else for that matter - he just plays his idle on a point until the scripted sequence tells him not to. In fact outside of combat in Skyrim you'll notice that most NPCs use these generic animations because they're built into the AI and are the most likely animation to work in the widest number of cases. In fact, I could probably list the most commonly used animations in Skyrim based on how many times I saw them while playing. A Quest Designer could try to spice a scene up or add variety, but most of the time that would create unnecessary risk around these sequences, so in most instances safe and universal generics are the way to go - which unfortunately limits visual interest because they don't adapt well to unique contexts (like the death of a loved one).

Even something seemingly small like changing music - if we ignore the cost of creating new songs - can bring unnecessary risk. Music is also handled systemically by the game's systems, transitioning based on environment and combat with different enemy factions, so overriding that to play unique songs brings even further risk on a scripted setup - what if combat breaks out during the sequence? Or if the overridden music isn't correctly reverted back by the system? The safer option is to work closer to the bare minimum (i.e. leave the music as-is) than it is to actually push the envelop a bit and bring on further risk.

Conclusion

Thanks for reading! Hopefully this sheds a bit of light on how scripted interactions are uniquely affected by systemic design philosophy and some of the drawbacks surrounding it. I feel fairly confident that any open-world game has had to deal with the friction between these two approaches and needed to meet an awkward middle ground as a result. After all, it's sorta an inevitability when you're making massive games intended to mimic a believable world.

[dumb-doll-lips]

Venting, got like distracted some through out so may not make the most sense.

I always feel like such an asshole about all this, I have a scheduled call with a college friend today and it’ll be like to make plans to do some in person to.

And I have like negative interest. And since she’s been back in town every time we have plans I spend the whole day stressed out and then feel bad after bc I’m like I’m horrible person for not wanting to see her and for not being able to match her energy and excitement.

I feel like I can’t even like pull away from things bc my family who tries to be more involved in my life ask about her a lot. They’ll say they’re all happy for me that she moved back and I’m like ugh.

She is like nice and sweet but like it’s just never anything I look forward too, more the opposite. I end up feeling like I have to put on an act similar to w my family, feel like I have nothing to talk about, and can’t relax. Like I def have some issues bc of my mom that I can see at play w this. But at the root of it is I feel like I can’t be myself, that I have to be some old version of me, and even if that wasn’t the case I don’t feel like there’s much in common. In therapy it gets into this whole convo about what is a friend and stuff and I don’t know if know. But this is just draining for me.

And part of what is annoying w it is how in general it’s felt like I have a much harder time talking to or feeling comfortable around other women. It feels gendered to me. And I don’t like that. In general women seem great, but like interacting w them feels a lot more like trying to play a game I don’t understand. I like how things do usually feel more transactional w men. When things don’t feel transactional, I think for me it usually feels like like draining and the whole interaction is like me trying to keep the status quo and disrupt anything or make anyone less then happy (which like def something I picked up doing bc of my mom). Like that’s not nice for me at all. W something feel more transactional I feel like i get to be a little more selfish and actually push for things I want more.

Idk. This has just been bothering me for a whileee and today I decided to ramble. I really liked it more when daddy issues seemed more to be my thing. Mom issues suck more imo. Like part of why girls are draining and harder to talk is because I feel more pressure to understand them, bc I have big memories of interpreting things wrong w my mom and getting yelled and really insulted. W guys I think I feel like not understanding each other sometimes makes more sense and I don’t have to worry about being called like a selfish bitch or something. And that’s just like one example.

Blah. Def not going well w how I also don’t feel that good.