#i like both of these characters (for different reasons)

[your-turn-to-role]

okay so i haven't watched the episode and honestly i don't think i'm going to, there's a lot i've heard about what's happened with vm that i really don't know how i feel about yet

but it's been a long time since the cast were playing c1, huh

like i don't blame them if they've forgotten or moved on from the themes of it, it was a decade ago and sometimes this stuff changes

but as far as the characters go, like. yeah, loving people and losing them was keyleth's worst fear, and they all knew that from the start

vax let the choice to be in a relationship be hers because he didn't want to push her into something that would inevitably be traumatic for her

(and he even apologised when he died because "i've confirmed your worst fears and then some")

but loving vax was the start of her overcoming that! he's always had a huge heart despite the losses he's been through and he wears it on his sleeve. his entire philosophy is best summed up by his quote to vex in 72, when she's beating around the bush about admitting she likes percy, "what the fuck do we have in this world except moments with each other? that's all we've got. [...] you know what's awkward? a life not lived."

when the rest of vm tries to turn inwards and isolate themselves as protection vax drags them back together again because he knows the best remedy for a broken heart isn't to shut yourself off but to love even stronger in spite of it. and keyleth agreeing to be with him was proof some of that got through to her

and then there was kerrek, who saw that she was afraid of every step she took, because she knew she would live to see the consequences, she plotted out everything she did under the assumption she might come to regret it centuries from now. and he told her she had the soul of a gardener, and that was a good thing for a leader to have. but sometimes as a fighter, you need the soul of a blacksmith, who knows that when a project goes wrong you melt it down and try again. and he gave her a ring, as a reminder that even for a gardener, some seeds only flourish after they've been burned

and to the most important episode in keyleth's entire arc, her twisted mirror sprigg. sprigg terrified her because where everyone else looked at him and saw a kooky old man, she saw, in crystal clarity, her future. a retired adventurer who'd shirked his duty out of spite, who lived in utter isolation, all his friends dead so long ago he didn't even remember their names.

but (ignoring for now all the other potential consequences of that particular choice by bells hells) they helped him find himself again. they helped him find meaning in service to ioun, and in ioun's library, where nothing is ever forgotten. and once he was given a reason to remember, he realised none of their names had ever left him. a friendship that meaningful cannot be erased by time, and if you lose it, you can always find it again

she had all the coping mechanisms and support a narrative could provide. and while "how am i supposed to get over you if you keep sending ravens to me?" "i am imperfect, as are the gods" lives forever in my mind, i wonder how the vax of c1 would feel, seeing this

The thing that kills me about Keyleth getting Vax back is how anti character development it is for her.

Her horror at how her increased lifespan will inevitably result in her outliving people she loves is something introduced in campaign one, and losing Vax is the very first taste of that inevitability. Campaign three shows us Keyleth as a woman who has spent thirty years refusing to move on and develop a healthy relationship with grief, still terrified by the prospect of outliving those she loves. And then she gets her dead boyfriend back, and he's immortal now, so she'll never lose him again.

It's pathetic! It's sad! It's kicking the can down the road! What's she gonna do when Percy dies? Grog? Every friend she has besides her immortal dead bf? Is her social circle just gonna close up further and further till it's just her and Vax for a thousand years, because Keyleth never learned how to mourn people she loves while also forming new meaningful relationships, and was in fact rewarded by the narrative for refusing to do so?

[revvethasmythh]

listen, now that everything is said and done i'm going to say something i've been thinking but not outright saying for the past nearly four years. frankly, imogen and laudna's relationship is a pale shadow of caleb and veth's and if you really sit and think about it, it's outright embarrassing for the former party. it's like if you saw a beautiful piece of art and tried to emulate it and then the only thing you managed to jot down that was the same was the basic shape and you never added any color when the color was the most important part. imogen and laudna's relationship is formed out of almost the exact same origins (troubled mage who needs to keep a distance from regular society joins up with monstrous misfit with a traumatic backstory and become each other's most important person while traveling place-to-place because they keep getting into trouble in cities). the difference is, genuinely, how much more colorful and lived in caleb and veth's story feels. they met in a podunk county jail and worked together to break out of the place, stayed together for practical reasons (straight-up survival) and then out of genuine friendship. they were hobos in the woods together. they cuddled on the side of the roads on cold nights together. they were genuinely each other's sole lifeline because they were the type of people no one in the world cared about in a very real, visceral way. they were also con artists, and sam and liam worked together to come up with an entire booklet of different cons they used to survive, which come into play surprisingly often during the campaign (Modern Literature, famously, but also Mother's Love and Money Pot featured).

comparatively, we know next to nothing about what imogen and laudna's lives looked like after leaving gelvaan, and the Incident™️ that sent them running in the first place remains amorphous and random no matter how many times the story is told or whatever extra details get added. the people of gelvaan found laudna to be a generically threatening presence (because of her fun-scary appearance and/or kooky-fun-scary behavior) and picked up their torches and pitchforks to run her out of town. imogen heard her thoughts and found them so beautiful she nearly killed two of the townspeople she grew up with the defend her and then they fled into the night together. and that's it. what did they do for two entire years after that? i don't know! neither do you. they don't appear to have struggled for money like caleb and veth did, there's no reference to hard-living, no real reference to what jobs they took to stay afloat, no mention of the practical realities of living as homeless nomads, no mention of towns and cities they'd visited and how those places impacted them. nothing. empty. no color. how did their relationship develop? also don't know! they seem to have slotted together perfectly as friends with no conflict for years before slotting together perfectly as lovers while batting aside all attempts at conflict later. done and dusted, that's the relationship, and people have the gall to call caleb and veth's successor relationship 'soulmatism' when it doesn't hold a candle to what the original offered.

which was, to be clear, endless complexity. i can't tell you how to define it, and i don't think the character's themselves could define it if they tried. sam went into the campaign intending to lean into a familial relationship and quickly realized that wasn't the vibe, course-corrected into veth having a crush on caleb--something sam has said developed fairly early in the campaign.* liam went into the relationship not intending to care about her nearly as much as he ended up doing, then spent the early campaign eps grappling with just how suddenly important she was to him, to the point that, in the face of her potentially dying in episode 20, liam says to sam, "do you want to make my character turn evil already?"** both were surprised at how tightly their characters clung to each other, and developed a deeply caring, highly insular dynamic where they were suspicious of outsiders and desperately guarded each other. with full retrospect, both went into the relationship intending to use each other (caleb for general usefulness/protection and veth, obviously, hoping caleb could change her back one day), then found such deep and tender care that they became each other's worlds. for a time. until nott became veth and veth had a husband and it sent their relationship into a tailspin because no matter how you frame the relationship, caleb clearly felt his feelings for her and the way they behaved together stepped over the line of how one should act with a married woman. after that, he is terrified of the idea that he might not have a place in her life and works so hard to create opportunities to insinuate himself into her present and future (teleportation spells so she can travel home quickly and still return to the group, making room for her family in the tower so she can stay with him, offering to tutor luc in magic to stay in her life, etc). veth gets her body and her life back but fears returning home will be lackluster compared to what she's experienced with the group, starts falling out of love with her husband, and has intense extra-martial feelings for caleb that are canonical. their relationship morphs and changes constantly throughout the campaign, and the one thing about their dynamic that never changes is how deeply and truly they love each other. you want to talk about soulmatism? them being the two party members with fake names who's real names share aspects of each other ("Bren" and "Brenatto") both from small-town dwendalian empire who's lives have been deeply impacted by meddling of the cerberus assembly (veth's in adulthood, caleb's in childhood) and who's deepest traumas are respectively fire and water does the trick for me.

so why is one so popular and the other, particularly as a romantic ship, very much is not? it would be obtuse of me not to immediately point to the fact that imogen and laudna are two pretty, skinny white women who claim to have deliciously little agency in their own stories and provide a blank enough canvas that the relationship can be whatever you want it to be. there's a reason there's so many AU fics for them, after all. caleb and veth on the other hand would center first a relationship between the handsome white fandom-popular sadboi and *checks notes* a self-described ugly, unfeminine goblin with deep neuroses and later a short, fat brown woman who also happens to be a young mother from a small country town. popular fandom, tragically, will almost always turn away from dealing with complexity of the latter for the empty calories of the former regardless of the quality gap between the two. if anything, watching the popularity of imogen and laudna's relationship has cemented my opinion that if veth had been different (either a man or a generically attractive white woman or someone more conventionally pretty just in general), widobrave would have been a massively popular ship, and i think it would have been regardless of veth's marriage. people can forgive a lot to write about their two generically attractive favorites getting together. they're a lot less forgiving for an ugly goblin or a fat, brown young mother, though.

tldr: reject modernity, embrace tradition. ship widobrave

*Talks Machina for C2E88, VOD no longer available, but a paraphrase of the quote can be found here **(2:09:30 on the YouTube VOD).

[shanastoryteller]

Hi shana! Hope you have a great day!

Bit of a strange question ... So, the recent ao3 maintenance had me read through your mdzs fics again (I love lynchpin so much!) and it had me notice something: there are quite a few redemption fics for pretty much any chara out there, except for jin zixun. And tbh, I wouldn't even know how to start writing one for him, but I thought, shana's a really good author, maybe she would have an idea?

Obviously not asking for a fic, more like, if someone challenged you to write it, how would you go about it?

weeellllllllll

i don't think jin zixun really needs to be redeemed

what's he guilty of, really? he's an asshole, sure, but he's not evil. he doesn't betray anyone. he doesn't scheme. he doesn't lie. he's just a chess piece, manipulated and used and ultimately discarded. he hates wei wuxian because he's rude to jin zixuan, because the rumors of his relationship with jiang yanli sully jin zixuan's reputation in turn. hating wei wuxian doesn't make him evil. in both lynchpin and become tomorrow i try and write him as a jerk, but not a bad guy

however if we were to make him likeable, when it comes to tweaking characters enough to polish them up without making them unrecognizable, you gotta ask yourself three questions

what is his best quality?

what's his worst quality?

how can his best quality be used to soften his worst quality?

i'd say his best quality is his loyalty and his worst is his gullibility. you should also look at the inverse of this - his worst quality is his loyalty because it leads to him doing stupid shit and acting like an asshole when it's not necessary, and his best quality is his gullibility because phrased another way, he's unthinkingly trusting of certain people.

so you'd take the person he's loyal to - jin zixuan - and make him a good sympathetic character. you'd give jin zixun's overprotectiveness a reasoning - such as jin zixuan feeling constrained by the expectations of his station and father's reputation keeping him from acting as freely as he'd wish - and you'd use this to soften his gullibility by having him trust jin zixuan completely

looked at like this, jin zixun's foil is wei wuxian. he acts for jin zixuan as wei wuxian acts for jiang yanli, with similar reasoning, and similarly potentially disastrous results. we find wei wuxian good and compelling and sympathetic. why not jin zixun?

often i think the best thing to do is not necessarily adding or subtracting to a character, but taking the traits they already have and shifting them just enough to show a different angle, like holding a prism up to the window to make a rainbow. there's something good in there already. you just gotta look at it the right way

[thedissonantverses]

This is absolutely me being petty and feel free to ignore but as it concerns THE Scout Lace Harding and this fandom’s raging misogyny I’m gonna indulge:

Harding’s character was ruined in DATV is a take you could have sure. It’s not a good take but ya know. Oh you want reasons? Okay!

“Why couldn’t it have been Dagna?”

Because the literal entire point is that Harding didn’t have magic and that magic is returning to the dwarves on a broader scale. Dagna wasn’t relevant and that’s okay it’s cool there is more than one dwarf with magic out there. It’s expanding the universe. Again, in my opinion which feel free to take or leave, this is a good thing. It would have been cool to have Dagna but again I’m really glad Veilguard didn’t shove every unnecessary character they could to cameo and focused on telling a good story. Veilguard is purposely setting up a future where the dwarves have magic again.

“Harding’s character is different!”

Yes. It has been ten years. And she was a secondary character in Inquisition with barely a background because she wasn’t relevant. When you did interact with her you were doing so as one of the most powerful people on the continent. Now she’s a fully realized character and on much more equal footing with the team. Again, this is a good thing. Her story in Veilguard is wonderful and while I am incredibly biased toward her, her romance is a delight.

“She isn’t empathetic enough towards Solas.”

Ah here it is. Here’s the actual reason I made this post. Cause see there are people centering Solas’ feelings and character at every turn. Harding has EVERY fucking reason to be mad at Solas. I’d go so far as to say she can hate him but she doesn’t. He lied to everyone they knew and his original plan was to kill them all and tear down the Veil immediately. He’s responsible for the Inquisitor being forced to even be the Inquisitor and this includes needing to amputate their hand because his magic is the reason they are dying.

Yet Harding still gives more grace and empathy to Solas than just about anyone would in her shoes and yet people are still pissed at her for…telling him off? He killed her friend. He’s the reason her people don’t have magic. He’s the reason their empire fell too. What were you expecting????? People aren’t just mad they’re actually livid over this. They hate her and the writers.

It just comes off like you’re centering a man’s feelings over a woman’s because she has a spine and isn’t falling to her knees thanking him for wanting to destroy her world. Her entire arc is dealing with generational trauma and her story matters a lot to both the dwarves and Thedas as a whole. It is incredibly poignant and beautiful and it was so nice to explore the dwarven part of the lore through a woman who represents so much of what Thedas has become.

Once again it’s any excuse to hate Veilguard. Any excuse at all.

[imustbenuts]

Wolfwood is an underdog character screwed by social hierarchy and Japanese cultural subtext more ways than one: a messy half-assed write up.

This is me saying that Wolfwood is in no way the equivalent of 'white' or even near the top in terms of class even when viewed with a Japanese lens and there's at least a few threads you can follow that will lead up to that conclusion. So to try and (badly) cover this topic as best as I can, the sections highlighted in this post will be the following

Colorism and imperialism

Tribes and burakumin

Shintoism and the burakumin people

Wolfwood's entire fucking design

I explode

Colorism

So in short. Asia has a colorism problem on top of a racism problem, but people like me get really frustrated when a more American POV is applied to try and shoehorn the discussion into purely racism. The reason is: history.

So. Japan was super imperialist back in history. And so was China, which Japan took many inspiration from in terms of language, culture, and most importantly, governance.

In order for their particular system of governance to work, both China and Japan ended up having their own respective court systems where the aristocrats and nobility would spend their days indoors as they administer governance. (Or more accurately, to be so educated, cultured and refined as the world outside implodes.) Thanks to this system, there is essentially a walled garden system where the well-educated nobles would spend their time well away from hard labor like farming under the sun.

This meant there is a greater amount of favoritism towards fairer skinned people as opposed to tan, since it became a quick indicator of class and status. Bc only laborers tended the field under the harsh sun, and women got this especially bad, bc imagine her having to tends the field like a peasant. Gasp.

Anyway bada bing bada boom white skin eventually became so associated with beauty and status. The old poverb, "色の白いは七難隠す", or White skin covers seven flaws, refers to women with pure white (sometimes powdered) skin is attractive no matter what their physical flaw might be. Think Geishas and their job of entertaining at private events with a face full of white powder makeup.

This colorism also hits men less, but the idea of status stays.

...Wink. (To note the above gif here for a sec: IMO Vash doesn't qualify as desirable purely because he's a blonde. A foreigner. An Other. But the hiding flaws part might be worth chewing on.)

And now we suddenly are looking at some kind of a vague hierarchical system. And indeed, Japan has had a caste system of sorts in with varying degrees of social mobility depending on which era you look at. The lowest in some era were slaves. And even then, there is another class even lower than that, the Burakumin. Put a pin in this bc it'll be important in the next part.

Tribes and Burakumins

There are actually, in fact, different tribes in Japan even today. Current day, the well known ones are the Yamato people, who make up 98% of the population in Japan. Mostly fair skin, black hair. East Asian.

Then there are the Ryukyuans, who live mostly in okinawa with their own culture, and then the Ainus.

I don't want to get even MORE historical, but those two groups were conquered and forcibly had their culture identity, language, and even land stripped off them. Attempted to have loyalty towards the emperor instilled towards them at various points. One might think the presence of these two might mean that there were more tribes back in ancient Japan, and, yes, you would be right!

Many of them might have been assimilated into what we think of as Japanese people today. There are always variation in skin color, hair color and facial features alone if one pays attention even in Tokyo. Not all East Asian are fair skin and have straight black hair, but an overwhelming majority do. (plus hair dyes and perms wahoo. who's to know sometimes)

One example perhaps is this. Ever watched Princess Mononoke? Did you know that part of the story centers around Ashitaka, who is part of the Emishi tribe, who are a group who has been rebelling against the Emperor Yamato for 500 years? And so he shoots samurais on the regular?

So here's the rub: the Emishi were in fact a real indigenous group who were basically conquered and assimilated. Some did resist during the 11th century, with their villages/hamlet out deep into the north of Japan. They were of course, greatly outnumbered.

These people who resisted the rule all over Japan with different identities, names and culture and survived came to be called the Eta 穢多 (lit. abundance of filth). Later, Burakumin.

Now I mentioned the Burakumins. Burakumin are written like this 部落民, and refer to a strongly discriminated class of people who live in discriminated villages/hamlet. The kanji though, literally translates to "People who falls outside of the order", or, "Outcasts". In other words, even though there's a caste system which basically at least recognizes people as part of a governing system, the Burakumins do not qualify to even as to be human in this system.

And indeed, some of these tribes who had their culture and identity stripped off them are not even people in the eyes of the ruling government. Today, the term refers to the descendants of these people, and they do encounter a lot of discrimination and abuse in their daily lives from social to work. It's so bad that parents do not tell their children of the ancestry to avoid discrimination. Also its possible to know if one is a burakumin just by checking family names and registers jsyk, since they were once location based.

EDIT: those judged to be criminals also become part of this group!

More info by a Japanese guy regarding current day burakumin problem here on youtube.

Oh and also, many burakumin ended up joining criminal gangs like the yakuzas. Put another pin in this.

Shinto and the Burakumin people

Preface: shinto is a very sacred religion to many Japanese people and is still actively practiced today. Be respectful and just know I'm being hyper specific about this singular aspect of shinto. It is a very old religion and history which is fascinating.

But to not talk about this specific topic would be to kinda miss what Studio Orange has been doing to Stampede Wolfwood so I'm just gonna do this super quick. A more indepth messy write up can be found here if you like.

Right. So. Like with many religion, Shinto was also used as a means to convince people to fall in line. One thing that Shinto has is the concept of spiritual dirtiness, which is generated upon contact with death, blood and disease. Being dirty would then draw evil spirits and invite terrible misfortunes, so being clean is important in Shintoism. So important that meat was considered dirty. (With the exceptions of game meat and the whole religion thing applied to them.)

It's so important that certain professions such as Butchers, Tanners, Gravediggers etc were seen as so terrible that no one but the etas, the burakumins would do it. This whole thing then reinforces the hierarchy. And meanwhile the rulers in their court and shinto priests could conduct rituals to purify themselves.

And for me, this is the most insane thing since dirty jobs like that must be done no matter what era it is. Just by being alive, people get dirty and there's no avoiding that.

Anyway. In Trigun and even Japanese media, this gets translated into what I would call The Tormented Ones Whose Hands Are Permanently Stained With Blood.

Nicholas the Undertaker was certainly an interesting choice of writing. At least imo.

FUcK

Ok now to recap. I've established that even without colonization and talking about (american pov) racism specifically, there are still very real elements of Japanese history that is too strong, too deep, to intertwined with classism to ignore.

This is the historical baggage of Japan's colorism. Whether or not if Wolfwood is a burakumin here is not the point, but rather that it borrows from that issue all of its influence in varying shades.

It's the erasure of ethnicity and culture in its totality, or to be so consumed by the bigger ruling group that this thread straight up disappears. And to be considered so unwanted that even their descendants today are considered dirty.

They abolished the feudal caste system in the 1800s by the way. Still dealing with like over a thousand years' worth of shit though.

Now I can finally talk about Wolfwood.

Wolfwood's entire character design and writing choice.

Since trimax wolfwood is the base, I'll start with that.

Dark(er) skin, sunglasses, a business suit and a kansai dialect.

All of those are significant.

Now remember that I've mentioned Fair Skin and Black Hair to be the most defining trait of an East Asian. Even people who say East Asian even casually have that specific image in mind. But Wolfwood with the exception of BLR has always been depicted as just slightly tanned especially beside Vash.

The shade fluctuates all the time depending on the artwork, but it's clear that the production staff knows the roots his character design is touching on in order to elicit that "otherness" from the Japanese audience. Which is all that above. The entire post.

Sunglasses and business suit also has a significance. One might think it's just the outfit of an average Japanese salaryman, and yes, that would be technically correct. More so though, this combo is also the outfit style of the Yakuza. Sans ties maybe bc Ww hates his organization.

This is a picture of a Yakuza group known as the Yamaguchi-gumi. Their leader stands in the middle of this photo, the oyabun/father of the group, Kuzuo Taoka. More info and another rabbit hole here.

The Yakuza are a historically violent criminal gang whose membership often consisted of societal outcasts. Outcasts like the Burakumins, who due to their status in society could not find a proper job, and suffer abuse. Being in the Yakuza meant respect and status, and turned boys into men.

All that was needed is absolute loyalty to the leader, the oyabun or the patriarch of the group. If he says it, white is black and black is white. Disloyalty means to chop one's finger off.

If any of this sound even familiar.... Well, yeah. Unhinged criminal boss Knives and his merry Gung Ho Guns.

Next, kansai dialect. So, Japanese dialects are never properly taught when one attempts to learn Japanese. It's a thing that's not Standard and therefore unnecessary to learn. We learn the -desu's, -masu's, the keigo, but never the '-yan's', the 'eenen', the 'akan' or the chau's. (Or even the many other dialects out there)

I will now ask you to hold the idea that 'dialect' and 'language' can be interchangeable. The implications of the Standard Japanese is that it is the ruling class' language and the most proper form of it above all else. Seeing as the Capital of Japan is Tokyo, and their government centers there, it would not be stretch to also call Standard Japanese Tokyo Japanese.

Which means, Tokyo is the classy city and Osaka, the largest city in Kansai, is not as classy. Not as important. Not as well educated or hold as important of a place to the entire country.

It is also very common to hear Japanese people mask their dialect with Standard Japanese when they're in Tokyo, and then go back to their hometown and code switch. Because it's considered 'hick'.

Which, if you haven't considered is also a thing many of us do, I now present you the gift of this fun knowledge.

I Explode

In closing I hope this at least is interesting to chew on for anyone interested. It's by not means perfect and I might have gaps in my knowledge but fwiw, I hope it's at least fun.

Nightow has stated Wolfwood's ethnicity is ambiguous, which I would also interpret as him saying indirectly that Wolfwood is as valid an interpretation to see him as anything but a privileged guy having a good time in the story of Trigun.

It's possible that his ambiguity of roots is meant to simply elicit the idea of a "stolen child".

One fun thing I do consistently notice is that Fanon Wolfwood almost never is in a comfortable position in life even in AUs, and always somewhat broke. In both EN and JP. Which, yeah. Yeah.

There is intersectionality going on and I hope this post helps people see some of it at least. So thanks for reading! (sorry it got so long...)

Additional cool posts other people have written from their pov:

udon-tea's write up about wolfwood's unestablished canon ethnicity

interesting thoughts about tortoise matsumoto being the base and what they think of wolfwood's possible ethnicity

[meanbossart]

Ask Compilation: Gorp, Questionable Child Rearing, Progressive elves and some campaign lore!

As always, I apologize if your ask isn't here/ hasn't been replied to, it is unfortunately impossible for me to answer to every question I get to the extend I would like to. Occasionally I also just don't have a very interesting answer to offer 😅 and I try to avoid spamming people's feeds! But thank you so much to everyone who interacts with my stories, characters, art, and is curious about my thought process and writing! The response is frankly just as overwhelming as it is deeply appreciated, and every word of encouragement or message about how I inspired you to draw or write more of your own stories makes my day.

DU drow and Gortash had what I would describe as a "Toxic Friendship". They got along well enough, had little friend dinner-dates, drank together, superficially shared their woes in ways that benefited no one, and DU drow ultimately had a great deal of respect for Gortash - except you would have never known that by the way he treated him.

DU drow belittled, harassed, and even destroyed Gortash's property on whim alone. Every compliment was back-handed and every display of friendship was somehow sarcastic. Gortash let everything slide right off his back for reasons I like leaving obscured. Here's a particularly intense write-up I did about their relationship a long time ago that still stands. I think it serves really well to illustrate how intense DU drow could still be about his friendships.

PFFTT, I don't know why that would be a female-child only thing, but maybe that's just a colloquialism?

DU drow actually talks pretty similarly to children as he does to adults! He just doesn't set the same expectations on them. Children don't ask stupid questions because the world is still new to them, nor do their respond reasonably to everything, they also don't understand some big words or complex ideas depending on how you present it to them - he understands this and adjusts accordingly. But otherwise his tone would be the same, even with his his own child. He's that guy who's good with kids on the basis of treating them as to-be adults rather than.. Well, just a child.

The Astarion assessment is fair, LOL.

[MORE UNDER THE CUT]

(Surface) elven kind strikes me as fairly gender-indifferent overall! And while I enjoy theorizing about how their culture has shifted over the years from exposure to "urban life", for both better and worse, I like to think this is an aspect that has remained mostly unchanged, even for elves who may have had a really mixed-up upbringing from living in a city as diverse as Baldur's Gate.

I believe Astarion (and by extension Shadowheart and DU drow) are fully aware that they read as their respective genders and that for other races, such as humans, that means something; but for them that is a different custom that doesn't really apply outside of pronouns and reproductive expectations. So, I actually believe that Astarion would be pretty indifferent to life as a woman save for occasionally missing having a dick for the obvious reasons (only to then shift back and lament the opposite, probably).

ALL THE TIME!

But I know that you meant to ask if I will ever draw it.

VERY LIKELY THAT I WILL.

As a side note, thank you for showing interest and excitement for male-on-male sex that isn't just anal, LOL.

CW for the obvious, though nothing too descriptive or awful.

I understand if people disagree as a knee-jerk reaction, but I would say that Astarion's character demonstrates a shocking amount of self-control and emotional regulation. I went into this more in detail in an older post, but basically: the guy always brings himself down from his own outbursts, is exceptionally good at reading the room, is extremely forgiving and pragmatic, and knows when to send the jokes outside and respond to vulnerability in kind. I stand by this as more than a headcanon; it's in his actual writing and dialogue.

All that to say, I don't think Astarion would ever lay a violent hand on his own children. I also don't HC him as having endured corporal punishment as a child, hence not really having that instilled in his mind as a possible example to draw from.

I could see DU drow implementing physical punishments that he doesn't consider to be actually painful, like pulling, pinching, or squeezing a child while you reprehend them; things a parent might do because they think it's harmless. Astarion would probably be the one to say he's not really achieving anything - so it would likely be short-lived.

I DO think they would both be okay with setting up their children to pretty arduous physical labor, though, both as punishment and just in general to toughen them up. You could argue there's a way to do this that is reasonable, but they would prooobably push that line into dubious territory.

Buddy, WHO said low fat, what do you think the meat and taters that he's eating is swimming in!

But back to your question, he can enjoy a sweet treat every once in a while! He just far, far prefers savory. Personally, I think the guy would go crazy for a panettone. Or a big sugar-powdered crepe with some berries.

I kind of flew through the Circus in DU drow's playthrough because I was SO excited to get to Baldur's gate. They were only there long enough for DU drow to make Astarion mildly pissed off during the dryad's weird love quiz.

I also somehow missed Lucretious and never got the Dribbles quest - probably for the best.

Becoming a big ol' squid seems like a deal-breaker for his character in-game - so, same thing applies here. He'd let him down gently but potentially want a friendship for as long as DU drow is still himself.

... Buuuut it would never come to that; DU drow would most likely end his life pretty swiftly if he were to turn into a mindflayer, so Astarion wouldn't have much to worry about 😬

Alas, she pretty much never crosses his mind since he has no recollection of the type of relationship they had prior to DU drow's amnesia.

Or at least she won't as long as nothing weird ever happens that potentially jogs his memory 😇

Hello! I also love the escorts, but due to both DU Drow's and Astarion's respective attitudes towards drow and that kind of activity they didn't really hire his services. I do like to think him and his sister had a lot to gossip about as soon as they turned their backs, though, LOL.

[greenfiend]

The Nested Universes Theory

and the high chance of a very literal bitter/sweet ending…

Yes, Will and Mike will end up together, but their ending may be both happy and tragic simultaneously.

(This theory may explain why the cast and Netflix executives were crying heavily when informed of the show’s ending…)

I'm warning you guys, take care of yourself while reading this. This isn't an easy read.

CW: CSA, sex, drugs, HIV/AIDS, period typical homophobia, death

Framed Narratives/Stories

Framed narratives are basically a story within a story. Common examples of this are the movie “The Princess Bride” and “Titanic”. Both stories have the story of the narrator and the story within.

Another example is Stranger Things itself. When we see the boys playing Dungeons and Dragons, they are creating a story within a story.

Sometimes, framed narratives are nested, meaning multiple layers of storytelling. An example of this would be the movie “Inception”. In that movie there are dreams within dreams within dreams… It’s a complex but fascinating way to tell stories.

Now, I do think Stranger Things is also a nested narrative story. Meaning, there may be a layer of a story that hasn’t been revealed to us yet (or more than one).

Basically I’m saying: the show itself may be a story created by some of the characters.

I’m guessing two characters in particular. Which two characters? The two most associated with creating stories. The writer and artist. Two of the characters that have existed since the show’s inception.

Mike and Will.

Multiple Universes

I do think there are multiple timelines/universes within Stranger Things… but it’s not exactly what you think. It’s not parallel universes/timelines. They do not exist parallel to each other, they exist within each other.

This is the reason for the “memory within a memory”, “play within a play” references.

It’s a story within a story within a story.

While Mike and Will are creating their DnD campaigns, there is another version of Mike and Will creating the story we see within the show.

Let’s break it down:

Inner layer: Mike and Will’s characters existing within a DnD campaign

Middle layer: Mike and Will within the show creating the DnD campaign

Outer layer: Mike and Will creating the story of the show

Mike and Will’s story within the frame (the outer layer) likely does share a lot in common with the story within the show, with one major difference:

There’s no Upside Down, and no supernatural elements. No superpowers, and no superheroes. There are still monster(s) and heroes, but these monsters and heroes are real.

Living on as “Heroes”

Ever notice the association between characters being referred to as “a hero” after facing their demise?

We have seen this time and time again. It’s not a coincidence, it’s a pattern.

Love for horror and escapism

@threemanoperation has a great post on Will’s love for horror.

It makes perfect sense for a boy like Will to enjoy horror. It can be a great way to process trauma and grief.

We also know even from the earliest descriptions for Mike and Will’s characters that they both love to “escape” into fantasy. They do this together, through DnD.

Gods/Puppet Masters/Creators

Within the show, there are many subtle nods to Will and Mike somehow controlling/manipulating things. These hints have lead to many interesting theories about Mike and/or Will having powers. In a sense, they both are absolutely right! But if this theory is correct, their influence over the show is mainly due to them creating it. They’re the authors, so in a way, they’re both “Gods”.

Solving the “Letter to Willy”/Lettergate puzzle

"Letter to Willy" is a song that plays over three different scenes within ST4. Each scene involves regrets, and survivor's guilt.

Max mourns Billy and reads out her letter "before it's too late" aka before she dies too.

Mike and Will have a heart-to-heart and Mike expresses guilt over El leaving, thinking there was more he could have done. This occurs while they are burying a dead man's body.

Dustin tells Eddie's uncle that Eddie died a hero, despite what the town thought.

This all leads back to Mike and Will within the story's outer layer. This also connects with the writer's incomplete letter they posted years ago on Twitter. I'll get back to this.

A father infecting his child

Oh boy. I hate this part but it requires context so…

Hopper admits to indirectly causing the death of his daughter, Sarah. He had been exposed to Agent Orange which led to his daughter developing cancer at a young age. He has remorse and has been grieving Sarah this whole time.

Now, Hopper is a decent guy and father, and is written as an almost “fix it” version of Mike and Will’s own fathers. He isn’t perfect, but he’s a man who strives to grow and improve himself.

Papa, is not a decent guy, and we also see him injecting El and Henry with needles.

So, what I’m saying is that this may be a hint to what happened to Will (in the 99/100 timeline). Lonnie is hinted to be a drug user, and it wouldn’t be far fetched to say he may have used IV drugs. Exposure to IV drugs is a way to transmit diseases, as blood may be exchanged through contaminated needles. Also, Lonnie has been hinted at, through subtext, to be a horrible monster. (<- click that link for a post about him.)

The “1/100” Timeline

The show itself is the 1 out of 100 timeline. It is the only one where Will was not kidnapped by his parent/guardian (Lonnie).

This means, it is the one where none of the tragic stuff ever happened, specifically to Will and Mike’s story at least. They may encounter challenges, but nothing they cannot overcome together, as a team.

1983: The Demogorgon got Will. He survives the horrors done to him in the Upside Down… but barely. He is taken to the hospital and heals from it all, including flu-like symptoms (cough, nausea/vomiting).

1984: Will suffers from flashbacks. He is also plagued with the nickname “Zombie Boy” and suffering from the Mind Flayer’s possession of him. But with the love of his family, and Mike, is able to return back to his reality.

1985: He then begins to struggle with the pressures of growing up, and having to move away. Plus the Mind Flayer returns and reeks more havoc.

1986: He then moves to a pleasant place. Where things are sunny and warm. Things on the surface seem happy and “normal” but there’s a looming threat hidden beneath the surface. Henry/1/Vecna. This opportunistic threat preys on the weak and begins to take over Hawkins.

1987-1989: Will is back in Hawkins and his ties to the Upside Down increase. He can’t shake it off as easily as before. He also can’t shake off his love for Mike, who grows even closer to him. One thing leads to another and they become lovers (they have sex). They eventually are able to stop the contamination of Hawkins, and save everyone. Will also realizes that he has developed superpowers from his time in the Upside Down, through his blood. Mike also develops superpowers, given to him by Will.

Okay… you might understand where I’m going with this but I still must warn you before reading the next part. It’s devastatingly tragic.

The “99/100” Timeline

(I’m probably wrong on some of these details but this is what I theorize thus far):

1983: Lonnie “got” Will (CSA). Will survives the horrors done to him by his father… but barely. He is taken to the hospital and heals from it all and from flu-like symptoms (cough, nausea/vomiting).

1984: Will suffers from flashbacks. He is also plagued with the nickname “Zombie Boy” and suffering from the flashbacks of his father��s possession of him. But with the love of his family, and Mike, is able to return back to reality.

1985: He then begins to struggle with the pressures of growing up. Plus the memories of Lonnie return and reek more havoc.

1986: Things on the surface seem happy and “normal” but there’s a looming threat hidden beneath the surface. HIV -> AIDS. Opportunistic infections slowly begin to prey on Will.

1987-?: Will can’t shake off colds and infections as easily as before. He also can’t shake off his love for Mike, who grows even closer to him. One thing leads to another and they become lovers (they have sex). Will soon discovers he has HIV/AIDS, which he had transmitted to Mike. Devastated by the news, they do everything they can to fight it together. They cope through creating a DnD campaign together to process everything they’ve gone through. They play DnD in Mike’s basement until Will’s condition becomes critical. Will is forced to stay in the hospital, while Mike is unable to visit (strict rules about visitation due to the disease and because they aren’t/cannot be considered legal partners). So, Mike does the only thing he can do: he writes letters to Will and continues the story. Mike eventually loses Will, for real this time. He’s devastated, and plagued with grief, depression, and survivor’s guilt. He didn’t complete their story in time. But his family and friends support him and encourage him to finish the story. To change the ending before his time runs out too. He completes their story himself, and reads his final letter to Will’s grave.

“anyway I think you’ll like [the ending]. sorry I couldn’t get it done [on time] but you mean so [much to me] and it’s been [so hard being without you] hope this is [enough to] last until [we meet again]. Love, [Mike].”

Attached to this letter is the full campaign. The full story of the show itself, which started on November 6th, 1983. He successfully turned back the clock, and changed their ending. They became superheroes within their story, saving Hawkins with their love. Mike dies soon after and we are met with…

Mike and Will reuniting within their own story. Blue meeting yellow at a gate, one final time, that leads “into the west”.

They continue their story and it’s a never ending story… Living on as heroes, forever and ever.

Some thoughts:

To simplify things, I didn’t include other characters much here but they likely all play an important role in the story. Many characters likely only exist within the mid layer (the 1/100 timeline).

I do think their story likely will be published, and this will be done by another character (my guess is Lucas). Their story will impact others profoundly, perhaps completely altering perspectives. This will lead towards positive change, and increase pressure for the development of a “cure”.

Lonnie obviously dies too, but we won’t see it. He’s significant but irrelevant. We don’t need to see him. Perhaps he rots in jail.

If characters like Nancy, Jonathan, Joyce, and Hopper all exist within the outer layer (the 99/100 timeline) in a similar way, they too may be inflicted with HIV/AIDS. Remember, it wasn’t just gay men, everyone was affected by this awful epidemic.

The time period is super relevant in this story. There’s no way that HIV/AIDS will not play an important role. Think about it… it revolves around two gay boys growing up during that time. This epidemic was widespread and terrifying. Had they been born a decade later, there would have been treatments/“cures” accessible to them.

The biggest reason why I strongly believe this theory is because… this is basically the ending of Stranger Things season 1, on a much grander scale. Think about it. Mike changed the ending of the DnD campaign so Will could be a hero, not a victim. This was further established in the comics.

While Mike and Will within the outer layer (99/100) have a tragic ending, Mike and Will within the show (1/100) do not. They beat the odds. Although it is undeniably a tragic end, remember that somewhere out there Mike and Will are still playing DnD and Nintendo for the rest of their lives.

Free Will and Writing your Own Ending

Free will has always been a reoccurring theme within Stranger Things; meaning we can choose our own destiny, fight chance, and beat the odds.

Do we truly have free will though? Obviously, we don’t know. The point is, we should still live life as if we do have it. To take control where we can, and not let external forces dictate who we are and what our destiny is. I think that’s the message there.

[communist-hatsunemiku]

this might be a strange take but as someone who was groomed and who had what i would call an "elitist" mindset towards it, zako really seemed like it was about that mentality. of knowing you were playing with fire but feeling like you were above it. and for that i was really attached to it for the 2 hours it was out. the more logical side of me KNOWS its more likely a play off mimukawa nice try but i would love to believe it was meant to cater to a different audience than loli-cons. what's your take on the fiction vs reality of it? do you think westerners are just overreacting

I think you're interpretation of the song is valid, and pretty interesting tbh! I had not thought about that at all, and it's a case for letting people interpret the song in their own way. Instead of kowtowing to the loudest, most offended people. I also think the fact the creators literally took down the song amid backlash is pretty strong evidence they didn't make a song "for lolicons". They obviously did not anticipate this reaction, Channel admitted to having reservations, and tried to make Yuuki somewhat older-looking in the video. Whether you think she does or not, is up for (good faith!) debate. I do think she does not look like the literal box art version of the character, but that's kind of beside the point.

there is no fiction vs. reality debate because there are no real human beings harmed in the making of this song. Like, full stop. The "well kaai yuuki has a child VA" shit doesnt hold water cuz that person is an adult now anyway, and there are plenty of other songs featuring her that go wayyyy beyond this one. Like it's just something people reached for out of convienence. Same for "it violates her TOS!" like no one gave a fuck about Kaai Yuuki's TOS before it became a convenient cudgel in this particular situation.

The thing is, no one can have conversations about stuff like this in good faith because you are immediately labeled some kind of monster for trying to have any kind of nuanced opinion. Any dissent from "this song/movie/book is irredeemably evil and your sick for defending it" is taken as proof that you are a pervert monster. It's such a clear example of people, willfully and gleefully, diving into reactionary thinking without a shred of thought.

When really, I do think having an actual conversation about lolicon causing you discomfort is totally normal, and it's a pretty reasonable response to this stuff! But people can't just say that, they have to burn the whole thing to the ground, in the name of "protecting kids" or whatever bullshit they come up with. I don't actually like a good portion of Miku art for the same reasons people didn't like Zako! There was art going around on twitter of Miku with a literal binkie in Her mouth like a baby, and that shit was kind of weird! But I just didn't engage with it, that's it. People whipped each other up about the "harms" of this song, when simply not liking or engaging with it at all would have been the normal thing to do.

Freak outs like this do not protect anybody from anything. My big hot take is that having a moral panic about literally anything has more potential for actual harm than whatever it is people are panicking over. You simply cannot make rational, thoughtful decisions that prioritize protecting people from abuse when you are in a panic, or listening to people who are in a panic. You just can't!! It's not how shit works!

I know I have other asks about this, but I'm kind of trying to answer here, definitively, and let the topic dissipate. I'm glad I got the video downloaded, and we'll see what they release to appease all the weirdos who freaked out about the song. People objected to both the video and the lyrics themselves, so I don't know how they're going to come out with a new version that isn't radically different than the original. We'll see.

[cheynovak]

Fevered Confessions part 3

Characters: Soldier boy x Y/N Female character     

Summary: Y/N got hurt during a mission with Soldier boy, Ben feels guilty and tries to take care of her. But the fever makes her believe she is imagining it.

Warnings: Mentioning of fever/wounds/ fighting/... -> 18+ later on in the series.

English isn't my first language.

*Please do not copy my work, reblog/comments/likes are appreciated* 

**Y/N’s POV**

Weeks passed, and Ben started to change. Or maybe… this was who he really was.

At first, he was patient with me. Attentive. He’d cook—nothing fancy, but he made sure I ate. He’d check my wound, sit with me on the porch when I felt too weak to do much else. Sometimes, I’d catch him watching me with something unreadable in his eyes, something that made my stomach flip.

But whenever Annie or M.M. visited, something in him shut down. He’d withdraw, get colder. Sometimes, he’d leave the room entirely. I didn’t understand why.

This morning, I woke up to raised voices, the unmistakable sharpness of an argument.

I sat up slowly, still groggy, and strained to listen.

Annie. And Ben.

“You need to stop lying to her, Ben!” Annie’s voice was angry, but there was something else—desperation? “Stop pretending this is her happy ending when *you’re* the reason she got hurt in the first place.”

Silence.

My breath caught in my throat.

Ben is the reason I got hurt

I swung my legs over the bed, my heart pounding. I didn’t understand. What had happened? I thought this—whatever this was—was real. But if he’d lied about something, if he’d done something…

I stood up too fast, dizziness washing over me. I steadied myself against the wall, then forced my feet forward, following the voices.

I needed answers.

I walked to the top of the stairs, lingering just out of sight, my fingers gripping the railing as their words sank in.

Ben’s voice was sharp, angry. “You weren’t there, Annie! You don’t get to tell me what the hell I should do.”

“I know enough,” she shot back, venom in her voice. “She hated you, Ben. Hated you. And now you’re letting her believe you two are a thing? Now you’re taking advantage of her situation?”

My breath caught in my throat.

I hated him?

My stomach twisted. This feeling, this… pull toward him, was that real? Or was I clinging to him because I had nothing else?

Ben let out a harsh, humorless laugh. “Christ on a fucking cross, she sleeps in a different room, Annie. Back off.”

I took a step forward, the floorboard beneath my foot creaking softly.

Both heads snapped toward me.

Annie looked guilty, like she’d been caught saying something she shouldn’t. Ben just looked… furious. But when his eyes met mine, something else flickered there. Panic.

I swallowed hard.

“What are you talking about?” I asked, my voice quiet but firm.

I needed to know the truth. Now.

**Ben’s POV**

Y/N stood there at the top of the stairs, watching us, her eyes sharp despite the confusion. She was almost fully recovered physically, but her memories were still a blank slate.

She’d been trying to figure out what we were for weeks. I felt her frustration every time she looked at me like she was searching for something—an answer, a feeling, a reason.

She saw me for a far better man than I was, and I didn't want to break that bubble. I’d been trying like hell to stay away. For her own good.

I knew she wanted me close. I saw it in the way she gravitated toward me, in the way her face had fallen when she realized the marriage thing was a lie—just something I made up so I could be with her in the hospital. That moment had broken something inside her. And maybe inside me, too.

I exhaled sharply, forcing the walls back up. This is for the best.

“Get back to bed,” I ordered, my voice firm. She crossed her arms. “I’m not a kid, Ben. If you two are talking about me, just say so.”

Annie stepped closer to her, softening her voice. “We’re just worried. You’ve… changed.”

Y/N’s brows pulled together. “How?”

Annie sighed and turned to face her fully. “You hated him,” she said carefully. “You and Ben—God, you two couldn’t be in the same room without fighting.”

Y/N lowered her gaze to the floor, her expression unreadable.

I tensed, waiting for her to run, to agree, to remember. But she didn’t. She just stood there. Silent. Thinking, I wasn’t sure whether I wanted her to remember the truth… or stay lost in the lie.

**Y/N’s POV**

I stood in the living room now, fully awake, fully aware of the tension in the air. Annie looked at me like I was some lost cause, and Ben… he was watching me with that same guarded expression he always had, like he was bracing for impact.

“Well,” I said finally, meeting Annie’s gaze. “Maybe that was the past. But I can’t say I feel the same way now.”

Annie’s eyes widened, and then she started rambling—about how dangerous he was, how he’d killed people, how I couldn’t just ignore that.

I knew. Or at least, I’d figured it out.

The way Ben carried himself, the anger simmering beneath the surface, the way he reacted to loud noises or sudden movements—it all made sense. I’d watched a movie a few nights ago, something about soldiers returning from war, and I saw it in him. The way they clenched their fists, the way their eyes darted to exits, how easily they snapped when pushed.

Ben had the same anger issues. The same haunted look.

I raised my hand, cutting Annie off. “I feel safe with him, Annie,” I said firmly. “I trust him.”

Annie’s jaw clenched. “Y/N—”

“And maybe,” I continued, “maybe losing my memories makes me see him for the first time.”

Annie scoffed, throwing her hands up. “Oh Jesus, Y/N. He has you rainwashed.” I frowned. Was that what this was? No a refused to believe that.

I turned to Ben, searching his face for some kind of answer. But he wasn’t looking at me. He was staring at Annie, his jaw tight, his hands curled into fists at his sides.

He looked furious. But beneath that anger, there was something else. Guilt.

“I think it’s time for you to go,” I said, my voice steady as I looked at Ben.

“What?” Annie snapped. “No!”

Before I could respond, Ben stepped between us, his presence solid, unmovable. “You heard her,” he said coldly. “Go.”

Annie’s eyes darted between us, frustration clear on her face. But eventually, she moved toward the door.

She hesitated, her hand on the doorknob, and turned back one last time.

“When your little house on the prairie dream collapses and you see him for what he really is, call me.” Her voice was softer now, like she truly believed I’d regret this.

I didn’t answer.

I just stood there, watching her look past Ben—past his broad shoulders, past his protective stance—to me.

Then she was gone. The door clicked shut.

The moment she left, the weight of it all hit me, and my head dropped forward, resting lightly against Ben’s back. I felt the tension in his muscles, the barely-contained anger still simmering beneath his skin.

Without thinking, my arm moved around him, my hand settling against his stomach. He was warm, solid. Safe.

He didn’t move. Didn’t push me away. For a long moment, neither of us spoke. I closed my eyes, listening to the sound of his breathing, steady and deep.

I should be questioning everything. But standing there, my body leaning against his, all I could think was—

I didn’t regret this.

**Ben’s POV**

I let myself feel it for just a second—her warmth against my back, her small hand pressed against my stomach, the way she trusted me without question.

Then I did what I always did. I pulled away. I had to.

I carefully lifted her hand off my body, stepping forward, creating distance between us. I couldn’t let her touch me like that. Not when I knew the truth.

Annie was right, in a way.

I wasn’t honest with Y/N. Not entirely. But she hadn’t asked, and she seemed fine with the life I built for her.

And that made me selfish. I knew it. But I didn’t care.

She believed in the life I created because she didn’t know better. And I liked that. I liked having her close, waking up to her voice in the morning, the way she always reached for me when she was unsure.

She looked up at me with those doe eyes, and something in my chest ached when I stepped away.

“I’m sorry,” she whispered, her voice barely audible. Her lashes fluttered, and I saw the tears gathering in her eyes.

“I just…” Her throat bobbed, like she was about to say something important. Something that could change everything.

But then she shook her head. “Never mind.” She turned and walked toward the porch, I had no idea whether to let her go… or stop her.

**Y/N’s POV**

I tried.

I tried to tell him what he meant to me, but the words felt stupid. Too big, too heavy. So I did what he always did.

I ran.

I sat outside for what felt like hours, wrapped in silence, staring at the wide-open field in front of me.

Eventually, I heard him. Ben sat down beside me, saying nothing, just watching the trees sway in the wind.

I let the silence hang for a moment before speaking.

“Even though I’m the one who supposedly hates you,” I said, still looking forward, “you sure as hell don’t seem to like me that much either.”

He didn’t answer.

So I kept going.

“I don’t get it. You stayed with me at the hospital, claiming to be my husband.” My voice was steady, but my chest ached. “Then you brought me here. And clearly, I’ve figured out this isn’t our original home.”

Ben remained silent.

“You keep things from me. I know it’s to protect me from my past, and I’m not even asking you to spill it all.” I turned to him now, searching his face. He still wouldn’t look at me.

“But whenever I try to be close to you, you push me away.”

Nothing.

My stomach tightened. I inhaled deeply and finally asked the question that had been clawing at me for weeks.

“What do you want from me, Ben?”

Silence.

I nodded, lips pressing together. I stood up, my body heavy with disappointment. I turned toward the door, ready to walk away—

And then I felt him.

His hand wrapped around my wrist, firm but not rough. I barely had time to react before he pulled me back, turning me into him, crashing me against his chest.

And then—

He kissed me.

**Ben’s POV**

I lost control.

I should’ve said something—anything. But instead, I kissed her.

And God—it felt like a goddamn crack addict giving in to his fix. She was my drug. Her lips, soft and warm, tasted sweeter than I ever imagined. And the way she moaned against my mouth? It set my whole body on fire.

She didn’t pull away. No—she pulled me in. Not soft. Not tentative. Needy.

Like she needed me as much as I needed her.

Her fingers curled into my shirt, gripping me tight, like she was afraid I’d disappear. I pressed her back against the wall, caging her in, my hands greedy—trailing up her sides, her ribs, her waist.

She was mine.

At least in this moment.

And I wasn’t strong enough to stop.

--

Taglist:

@jackles010378 @libby99hb @winchesterwild78 @suckitands33 @mostlymarvelgirl @deans-baby-momma @ancles @tulipsvanilla @thesilmarillionblog @jays-bonnie-on-the-side @kr804573 @kamisobsessed @hobby27 @globetrotter28 @kindollss @muhahaha303 @shadysoulangel @lyarr24 @spxideyver @impala67rollingthroughtown @panickedbitch @deansimpalababy @livya99 @yvonneeeee @ladykitana90 @stoneyggirl2 @imsiriuslyreal @roseblue373 @n-o-p-e-never @ariasong11 @lmpala1967 @sherlockstrangewolf @writtenbyhollywood @spnaquakindgdom

[sapphiresaphics]

You can do whatever you want in your own videos. I’m not telling you you can’t. BUT if you are going to do analysis videos, it is better that you do so from an objective starting point. Because otherwise you are no better than the millions of other right-wing talking point videos which have no basis in fact and are ALL about playing to emotions and biases.

THAT is what I was calling you out for. You START from a bias (A weak one at that), and just continues from there which gives your video a sHaKy foundation.

Another tell that you’re not coming from a place of honesty is the use of terms like “copaganda.” Not only does that indicate your biases, but it makes it EASIER for people to dismiss your opinions because you’re using terminology no normal person would use to describe anything.

You might not be right wing, but you sure as hell are using their tactics to express your beliefs. And I find that to be really fucked up and wrong. You are alienating yourself from other leftists in an attempt to prove how leftist you can be. You are appealing to a very specific and LIMITED crowd. THAT is why I called your activism “performative.”

Legitimate film criticism revolves around being objective as a way to try and REMOVE biases and critique a work on its own merits. By admitting that you’re coming from a place of bias, you are admitting you do not have any interest in your analysis being taken seriously or objectively. Which is what pandering is.

I have spent the last few months going to the mat for Arcane because the perspective from some people about this show is WILDLY out of step with reality. On both the left AND the right. Apparently NOBODY really gets this show and they all have wildly different reasons for hating it. Your focus on hating Caitlyn and Vi and “copaganda” and hating centrists is no different from the right-wingers who hate on Caitlyn and Vi for being too “woke.”

And for some STRANGE reason, a lot of the hate boils down to completely misunderstanding or misrepresenting the show.

For example: “Caitlyn gassed all of Zaun!”

No she didn’t. The show doesn’t show this. The characters don’t say this. The imagery used don’t show this. The ways in which the fantasy smog The Grey work don’t show this. But a lot of leftists have worked REALLY HARD to equate what Caitlyn was doing with Hitler. And as a Jewish queer, that infuriates me. Not only is it bad analysis, but it grossly misrepresents what happens in the show. And so I’ve been fighting back against that sort of weird nonsense.

And your video… looks to be FILLED with all that same meme nonsense that I’ve been fighting against all this time.

I think part of the problem is you’re going. You’re not pragmatic, and don’t have the experience of understanding what ideals need to be fought for, so you fight for ALL of them at once. And as a result, your politics get muddy and extreme and disassociated from reality.

And when you apply all of that into a show that was never meant to be leftist propaganda in the first place, you do a disservice to the message the show isnACTUALLY trying to say. Cuz news flash, Arcane isn’t left wing, right wing, or centrist. It’s a lot of things and depiction is not endorsement.

Hope that clears up some of my initial responses and why I strongly dislike the very premise of your video.

You know what's also disrespectful? Turning violet's alcoholism self-harm and suicidal tendencies into a fucking montage. Not to mention trying to frame it like she's only upset about Caitlyn and losing her abusive girlfriend? She has a lot more to be upset about.

Also we never talk about the fact that she's literally homeless? Like without Cait she doesn't have anywhere to go and we never talk about this the show sure doesn't. The show also doesn't give a fuck about her alcoholism on top of the fact that they made it into a montage it's either never talked about or it's seen as like a funny haha. Which pissed me off to no end.

[asnowperson]

Takemiya Keiko interview about Kazeki OVA (1987)

Here's another short interview from platypus's stack of old magazines with cool interviews: Takemiya Keiko talks about Kaze to Ki no Uta Sanctus: Sei Naru Kana in the 1987 December issue of Puff.

Translation is under the cut, and please let me know if you spot my mistakes.

Kaze to Ki no Uta – OVA is finally on sale!

Takemiya Keiko Interview

“It will not ruin your image of the work, so please watch it!”

Let us first hear your thoughts on finishing this project.

Mr. Yoshikazu was sitting at the director’s chair. That alone assured me that everything would go smoothly, and I left everything to him. He read the manga thoroughly and gave the work his own interpretation. I had nothing to worry about. I didn’t have to ask him not to do a certain part in a certain way, or to avoid including too many “risqué” scenes. I can feel that he gave the work the treatment it deserves. Even the animation style was not too flashy and anime-like. The movements were more orthodox. Everything worked out perfectly, so I have nothing to say.

The background art was amazing. Did you ask them to draw them that way?

Both Mr. Yoshikazu and I thought that she’d be a  good fit, and suggested having the same person who was the art director for “Natsu e no Tobira”, but we couldn’t get a hold of her. We found out the reason later: The producer thought she was too slow, and we should give up on working with her (laughs). But when we said that she was the only person who could draw the backgrounds, she was hired to work in the project. However, she was too late to turn in the drafts. We really were in a tight spot. She might have been slow, but she really is an artist. When she can’t draw something, she just can’t. She gave it her all… Even though it was something that’d only be on screen for two seconds… If we couldn’t ask them to do something, I said I should go ahead and do it myself.

So, I gather that you drew some key animation yourself. Are manga and anime too different to draw for?

Both mediums are used basically to capture “movement,” so I think they are the same. You go with the flow, trying to capture “movement”… You think about how original you can express it. That’s a really fun undertaking. For example, even if it’s just a scene of a character turning to look back, if you strive to give it a little touch, you can really bring out an erotic feeling. That’s the stuff I’m talking about. If I had a lot of money, I would dabble more in in-between animation. I now understand why Otomo Katsuhiro-san was so obsessed with it (laughs).

I’ve seen the OVA. It felt like reading one of your works.

Do you think so? I didn’t ask him to do it, but to keep close to the atmosphere of the original work, Mr. Yoshikazu outlined the key points. He put the same things as my drawings in those scenes. But if you looked closely, you could tell that they were different. When I saw the whole thing, I thought “wow, it’s the same!” However, upon closer inspection, I found out that such scenes did not exist in the original. I even thought maybe something was wrong with me. The same also goes for the lines. “Did he ever say that? He might have said that…” But when I re-read, I see that no such line was uttered. I had so many moments like that.

What was the fans’ reaction to this OVA adaptation?

When I said it was happening, I received an equal amount of positive and negative reactions. Well, that’s only to be expected. So, like I thought, only when I said that Mr. Yoshikazu was the one directing it, I saw the real opposition. The animation director was decided on, but the VAs weren’t cast yet. When news of the production got out, I received letters saying “it’s too late, I give up!” (laughs) They said stuff like, “Here we are, so against this idea, but you still say that you’ll do it! I don’t care anymore!” I can say that there are people who definitely won’t watch it. It makes me happy to see the work being loved that much, but when people are that obsessed with it… It’s kind of scary. I sometimes go as far not seeing it as something I myself created. But well, there are still a lot of people who say “I might cry and whine, but I’ll still watch it.”

Can we have Ms.Takemiya, the creator herself, do some advertisement for the OVA?

The OVA didn’t embarrass me, so I’ll keep promoting it. I don’t think it’ll ruin your image of the work. But I know that there are people who are too nitpicky and say stuff like the lines of a character’s profile is kind of off and they hate it, or that their legs are too thin  or that their feet look weird (laughs). In that sense, we paid extra attention to the movement itself and tried to animate the characters in a natural manner. “The Poem of the Wind and the Trees” makes you think of subtle movements, right? We can’t have them move too briskly, and even the fight scene is nothing too serious. Because Mr. Yoshikazu didn’t want to create too vivid of a scene. Rather, he didn’t want it to stink of “masculinity” that much. And people who’ve only seen the character designs might think that they look nothing like the manga, but when they are in motion, they do look like their manga counterparts. As for the voice of the characters, I don’t know the actress of Gilbert, but we have Nobita-kun for Serge (laughs)! People who are into anime will recognize her voice, so they might be a little bit of put off by that, but she doesn’t sound like Nobita-kun here. Not at all! The more you listen to her acting, the more you enjoy it! There are parts that reflect Serge’s character, so I’m really content with the result.

Can we consider this as “episode 1” of a series? Do you have plans for a continuation?

If this OVA sells, it might happen. If this one gets a positive reaction, I think we can make another one. The producer said that’s what he thought would happen. If you ask Mr. Yoshikazu, he says it’ll be at least 6 episodes long, but I doubt that. I can’t bring myself to believe that we can make that many episodes. Anyway, to think that we won’t be working with the staff who brought it to life with such resemblance feels so sad. But I also think that if we ask them to do it again, they’ll simply run away (laughs). We’ve already done Yoshikazu-san’s favorite part right off the bat, so what remains is the hard part. He says he can’t decipher a character like Augu (laughs). Maybe another director might do better.

And what about the future of the story in manga?

There’s the stuff about marriage and children problems, how to reach enlightenment, and everything in-between until Serge’s death. But even if I drew that, that would have no meaning for people who are only here for what Gilbert and Serge had (laughs). I don’t have any plans to draw any continuation for the moment, but one day, if I ever get the chance… If the are conditions right, I think I’d like to draw it.

Can we have your final message for Puff readers?

Watch the OVA. Please do it. I believe that if you watch it once, all of your worries will be washed away.

[darkficsyouneveraskedfor]

Watchers Anonymous 2

Warnings: non/dubcon, stalking, and other dark elements. My username actually says you never asked for any of this.

My warnings are not exhaustive but be aware this is a dark fic and may include potentially triggering topics. Please use your common sense when consuming content. I am not responsible for your decisions.

Characters: Peter Parker, skinny!Steve Rogers, Bucky Barnes, Thor, Loki, Curtis Everett, Jake Jensen, Cole Turner, Captain Syverson, Nick Fowler(so far)

This AU is called Watcher Anonymous and will include different series for each of the above. This is our introduction to the group.

Summary: men with illicit infatuations come together to share and plot their perfect fantasies.

As usual, I would appreciate any and all feedback. I’m happy to once more go on this adventure with all of you! Thank you in advance for your comments and for reblogging ❤️

Sy walks in with a stack of pizza boxes in hand. He put them on the table between the home-baked brownies and layered bean dip. Curtis shakes his head as Peter avoids his derisive gaze.

"Wasn't aware this was a buffet situation," Curtis mutters.

"I'm starving. Didn't wanna be rude," Sy steps back. "Some of us work hard."

"I worked hard," Curtis retorts.

"You're so pale, I bet you ain't seen the sun in years," Sy scoffs.

"Hey, guys," Jensen cuts in, "come on. You don't gotta be jerks. We're here for support, right?"

Both of them shrug and turn away. Peter sighs.

"How's boss lady?" Peter sneers.

"Whatever, dude. Don't start."

"When's the dick measuring contest?" Bucky approaches the table to take a slice after Sy claims three.

"You can claim last place right now," Peter snips.

Bucky snorts, "oh, we're going smallest to biggest. Congrats, Pete, you earned that gold medal."

"Buck," Steve sniffs as he approaches, opting for a brown, or half as he breaks one in two.

Jensen sighs. There's a tension in the air and he knows what it is. Now that they're there, in person, it's real, and they're all growing impatient. He can't say he isn't.

He looks at Cole, glued to his phone as he slouches in a chair. A figure strides through the door, almost missed as he moves as smoothly as a shadow. Peter looks over as Loki stops and looks around. His hands go to his hips as his eyes narrow. He shakes his head and marches over to the table.

"No wine?" He muses sharply.

"Not you too," Peter warns.

"My brother, you've not seen him?" He asks.

"Would ask you the same thing..." Jensen intones.

"Yes, he is typically very bothersome and yet I find myself entirely without agitation," Loki crosses his arms. "It's been some days since last I've heard from him."

"He hasn't been in the discord." Peter says.

"Well, you can catch him up," Jensen says, "hey, look, guys, I wanted to go over something."

"Who put you in charge?" Bucky challenges and takes a bite of pizza.

"I'm not trying--" he pauses and looks at the door. He huffs and goes to close it.

He marches back to the center of the circle of chairs. Some sit, others hover behind the seats, Loki glides like a restless cat along the wall.

"Look, we came together because we want to help each other, right? Because we all have someone... in mind. A goal. And well, I don't know about you, but I'm tired of watching. Of waiting." He turns to look at each man. "What are we waiting for?"

"Well, what should we do?" Steve asks as crumbs litter the floor around his leather shoes.

Jensen pokes his tongue in his cheek. He looks at Curtis who tilts his head. Then he glances at Cole as he frowns at his phone.

"Cole," he says and the sandy-haired farmer jerks up in his seat. "You have land."

"Sure, lots of it," his blue eyes round.

"Thanks for the maps, by the way," Jensen adds. "Anyway, er, I did ask for a reason."

"You ask a lot," Bucky huffs and Steve pokes him.

"Look, we all have our talents, our skills. And we can bring them together."

"How so?" Peter sits and taps his fingers on his jeans.

"Sy, you're have a background in construction. Curt, you too. I'm sure the rest of us can learn. Or help." He pauses and looks at Steve then Loki, "some of us are good at planning and others..." he once more looks at Sy, noting Thor's absence, "will be good for muscle."

"Alright, get on with it," Bucky snipes.

"Cole, it's just you and your parents, right? You do all the work. You need help too."

Cole grimaces and shrugs in confusion.

"Tell me what your plan is. All of you. Tell me. What's the plan? You gonna sit on your hands and hope and pray that they fall into your arms?"

Curtis shifts. They didn't discuss this part. Jensen's hear pounds.

"We build a place. For all of them."

"What?" Several babble from the chairs.

Loki marches closer and brings his thumb to his chin, "a prison?"

"No! No. A home. A..."

"Compound," Bucky adds. "Let's be honest. What he's proposing is that we cut the shit. Make our moves."

"And if they're not into it?" Peter asks.

"It might take time..." Jensen says.

"But they'll see. We only care about them," Steve pipes up.

"Holy shit," Bucky chortles, "you're not serious?"

"It could work," Sy says.

Loki twitches and reaches under his jacket. He pulls out his phone and scowls, "Ah, there he is." He puts it to his ear and turns his back.

"It's illegal," Steve says. "What you're saying."

"Who else is going to take care of them? They can't take care of themselves." Jensen argues.

"He's right," Sy says.

"And... they could be friends," Steve suggests.

Bucky snorts again. Jensen is getting annoyed.

"Well," Jensen throws his hands up, "anyone got a better idea?"

The room goes silent. The men exchange looks. No one speaks.

Loki's spine goes rigid then he pulls the speaker away with a tweak of his head. He faces the men again and exhales. "Well, it would seem my brother is well ahead of us."

[pynkhues]

Another fanfic writer got ran out of the fandom this weekend because of a 'guilty by association' harassment campaign. She wrote fic of Loustat switching and having a very Canonverse relationship, and a teenager started insulting her writing and inciting harassment by others until she quit writing. The allegation was she was mutuals with someone else who was assumed to be racist, which is flimsy enough, but the real reason was obviously that she wrote popular, beloved fics that did not subscribe to the Hypermasculine Daddy Lestat and Hyperfeminine Housewife Louis Fanon.

This fandom is a horrible place and I am so glad you're still with us and haven't let these people bully you into silence, Sophie. It's so awful.

I'm really, really sorry to hear that, anon. Can I ask who the author is? I'd like to have a look and maybe send them a message or a comment if I can. Hopefully they might be a bit like me though and come back after giving themselves some time and buffer.

It's all pretty hideous behaviour though, and mm - - okay, you know. It's been a few weeks since it all went down with me now, and I've had a lot of people reach out very kindly in DMs, and also had to have y'know, I guess I'd say offbeat, haha, and awkward and heavy conversations with people in my real life, both personally and professionally (although I will say it's kind of been a relief, and half my family has already turned it into a running joke. My mum, who was the first person I told, watched Disclaimer after I recommended it to her, and she keeps texting me photos of the Kevin Kline stalker character with 'your erotic fanfiction haters' and asking me if I'm sure I didn't kill somebody's son, lmao), but I've been thinking about it all a lot, and - - yeah.

Look, this is going to sound off topic, but bear with me for a minute, alright? Over the last two weeks, purely by coincidence, I listened to the Behind the Bastards episodes on Rush Limbaugh. I love that podcast in general, and those two episodes are fascinating, and really worth listening to if you're at all interested in the media landscape's pivot to the right in the last few years. They really explore who he is as a person, his ascent in radio, how he managed that ascent, and the space he created in media which would after him be filled by Fox News, Tucker Carlson, Joe Rogan,et al.

One of the ways that he did this was by being loud, but also presenting himself as trustworthy, and really the only person anyone needed to listen to. He was a smart guy, anyway, anyone could hear that, and if people listened to him, they'd be smart too. One of the first majorly successful runs of this was his campaign against the show Murphy Brown, which is about a woman who is a single mother and a lawyer, successful, bright, and who interacts with a lot of gay people in different capacities in her every day life. Murphy Brown is famous for being one of the first shows to normalise both successful single motherhood, and LGBTQI+ people as varied members of our communities.

Now, Limbaugh positioned the show as offensive, and anyone who liked it as morally wrong, but more than that, he positioned his opinion as the only right one, and he would actively tell people not only to not watch the show, but to not engage with anyone who might have an opinion of it that wasn't his own. He did this by telling people they would be stupid, or 'missing something' if they didn't follow his obvious intellect, that they didn't need to think about it themselves, because he would do the thinking for them, Smart Person That He Was.

And so I'm like, y'know, listening to the podcast on my commute to work, and I just kind of think - - huh. Because it's kind of familiar, right? And I got thinking about how all those people were reblogging my 'vile anti black post' and telling all their followers to block me, thus trying to control their followers ability to see my posts, and presumably the posts of others, since they seem to do that a bit, and then I noticed that those same people trying to ensure everyone blocked me.....didn't block me themselves. And it suddenly just clicked into place.

Fascist rhetoric has come to fandom. Per the Merriam-Webster Dictionary:

In simplest terms, fascism refers to a specific way of organizing a society: under fascism, a government ruled by a dictator controls the lives of the people in that society, and allows no dissent or disagreement. 

Fascism is more than just political, it's a philosphy and a mindset. Rush Limbaugh was a media figure, and he was a fascist, and interestingly - importantly - he did not believe in most of what he said. What he wanted was power, success, control, an audience, and to dictate the rhetoric in the media landscape because that granted him that power, success, control, and audience.

And look, I'm not saying these people attacking others with different opinions in the fandom are fascists, but they're using a fascist playbook. Their criticisms, harassment campaigns, threats to dox, actual doxxing, threats to not only involve but criminally endanger children (which I have since learnt my nephews were not the first target of - someone in this fandom who I won't name reached out to tell me they'd similarly threatened to send things to her children) (also I've seen posts that the people who initially were vocally strawmanning my arguments wouldn't do that, and sure, maybe they wouldn't, but all I can say is that if I knew members of my own corner of the fandom were threatening to find and send porn to any minor, let alone children as young as 7, I would be loudly and outspokenly condemning it), and attempts to suppress anything they don't agree with, is fascist behaviour.

They are allowing no dissent, no disagreement, and actively interfering with people's real lives to achieve that.

I don't think this will make any difference to them, I think some might not know what they're doing, but I think a lot do at this point, and I guess what I want to do in this post is just to share what I personally think that it is, and I guess - - mm, not offer words of advice exactly, but perhaps offer some gentle encouragement. I'd encourage anyone in this fandom - hell, everyone in life right now, given the state of things - to approach anyone who tells you there is only one way to create, only one way to enjoy something, or interpret something, or only a select group of people that you should listen to, with caution at the very least.

Fandom - again, hell, community - has always, to me, been about encouraging others to explore and engage with it on their own terms. Diversity of opinion is good, it's healthy, different takes on characters should be exciting, different iterations in fanart and fanfiction is a celebration of the fact that we bring our own stories to, well, stories, and anyone telling you who you should or shouldn't engage with without having a healthy, equal conversation about why you shouldn't engage with them, should be given respectful, reasonable doubt.

Anyway, I'm sure this'll piss people off again, but y'know, I don't really care about them at this point. I think their behaviour is ugly, antithetical to what fandom has always been about, and frankly, I think it's antisocial. I do care about you guys though, and I don't know. I hope this perhaps sheds a little bit of light for you in the same way that I felt it shed a little bit of light for me, or at least makes you think a little bit more broadly about what this desire to control is a part of, and how to engage (or rather, not) with it. But more than anything, I hope that author's okay, and that they've made friends in this fandom like I have who can offer their support.

[burning2know]

I agree wholeheartedly with OP and these tags from prev. prefacing that I will be ignoring the game that shall not be named and probably repeating some points.

There's nothing quite like the interactive medium of a video game that makes you examine your own choices and beliefs. And when it comes to politics, there's often a disconnect between ideology and lived experience. My favorite thing about DA was always the fact the it tried to bridge the two. Whether it's showing that various individuals in similar circumstances can have completely different ideologies, or it can be to explore what happens to individuals and their experiences after reshaping the world according to the player's ideology. That bridge, albeit implicit, has been formative in the way I think about my own world. When it comes to the lore and world building, it demands the player to use critical thinking, much like a historian might, to make sense of it. And I did end up feeling like I needed to make sense of the world to make my choices.

Even though DA has argued both sides, it does it incredibly well. The arguments it presents come from character perspectives that makes sense in the universe, and it makes it all feel real. I think a lot of credit should go to origin's writers for providing those arguments. It feels like the writers talking amongst themselves trying to hash out what each action means for the world and to eachother using the NPCs, and in the spaces of these discussions, I get to reflect on where I agree and disagree and what that means for me as a player. The experience reminds me of me watching Contrapoints videos in which she has a conversation with various parts of her own beliefs about her gender identity, and engaging with her inner-discourse lead me to a deeper understanding of my own identity.

That's the true value of arguing both sides. It lets the audience decide for themselves without being prescriptive. And while it does demand the audience construct their own reasons and values to explain their choices, it also provides a window into possible viewpoints that the audience might or might not agree with. And not in a judgmental way. That process shows how one character may arrive there, not through insanity or stupidity, but through various circumstances and experiences.

DA's goal was always to challenge the player. That isn't to say that there's no bias, or a particular perspective that the writers are coming from. But the point is that it opens a space for exploration. It takes a certain kind of person to be able to do that without falling into the hole of appearing contrarian or troll-ish. And to some extent the writers themselves had to treat each argument with equal respect and legitimacy to display its outcomes in the game according to the rules of the world rather than their own ideals. And that itself is not easy. It doesn't surprise me that that world view and capacity disappears when the series changed hands.

And underlying all of that is a philosophy about how individuals operate, and how they operate when they come together into groups of individuals (many different words to say power and hierarchy). And that underlying philosophy is what resonated with me so much with over time. It's very compassionate to be able to hold space for these other perspectives. Not only rare to see due to the complexity required to show it, but easy to lose and difficult to gain back once you've lost it. And at this moment in the history of DA, we have lost it.

In some ways, I think the timing of this happening Makes Sense. We live in a tumultuous time where reality is uncertain and volatile due to the nature of new modes of information exchange. We see all kinds of people sharing things on social media that could easily be interpreted as lived experience or disinformation. And more than ever, our shared reality is being shattered into a million pieces by personalized content. (I too have felt the "we live in parallel universes" thought creeping up on me). In this chaotic environment, we Need the psychological comfort of certainty, of knowing what the world is like. The easiest and most familiar way is to find an authoritative voice and trust that single voice as the guiding star. That voice is only strengthened by others' agreement, and we contribute to this strengthening with our own psychological needs for certainty and stability. And we become resistant to dissent and critical analysis, because the amount of information to sort through gets very overwhelming very quickly.

What DA does has always been the opposite of that, it demands the player to confront multiple perspectives (albeit in a much more curated and coherent way). And it is logical to me that the game goes against such a primary psychological need in these trying times, perhaps now more than ever. But this theme has always gone against the grain, and media that goes against the grain in this way is so rare and So Badly Needed. We Need people to be able to think through and cobsider multiple perspectives, because there are so many perspectives accessible to us. At the same time I understand the draw of never ever having to do that. And I also understand that a lot of people just don't think that deeply ever. And that's why losing DA hits extra hard for me. Because it is another piece of resistance swept away with the torrent of greater trends that push us away from shared understanding with the people around us.

i feel like all of my pondering and analyzing and criticizing veilguard over the past few months has actually truly given me a better understanding of what dragon age meant to me, what about it specifically was so meaningful, and why, as a result, veilguard felt so wrong. it took a while for me to figure it out. about three full months of relentless essay writing, actually. but i think if you had asked me a few years ago what the core of my love for dragon age was, whatever answer i gave would not have truly gotten to the root of it, because i think i had to experience the disappointment of veilguard to fully understand why i love dragon age. and ive realized that core is that i loved how the previous dragon age entries demand so much of the player, and deliberately prompt introspection and critical, often political, thought.

dragon age games have historically forced the player to be self-reflective and introspective about their worldview and beliefs. solas is obviously a fantastic example, as he was deliberately written to be a reflection of the player in order to prompt them to reflect on how they treat people, how our expectations of people influence their behavior, and how people are pushed to extremes and turned into monsters or saved by love and kindness. how do people become monsters? what drives them to blow up buildings or start rebellions or destroy the world as you know it? are they right or wrong? does it even matter? how did you contribute to this? are you innocent? it puts these insane, politically and morally charged situations in your face and forces you to confront them. slavery, a refugee crisis, poverty, class disparities, racism, foreign occupation, the list goes on, and you are not given the option to look away or be a bystander. you have to ACT. you have to choose, you have to make judgements, you have to take responsibility and explore your role in this world as someone with the capacity to act upon it, to make your will a reality, to fail, to make mistakes. i honestly can't think of any other video game that does this to the same extent? nor any media at all because the act of being IN the world as one of it's people through the act of role-playing is essential to how it provokes this experience in the player. its ballsy. they deliberately try to make you uncomfortable. these games are full of liars, deceivers, betrayers. the games themselves lie to you. its character try to deceive you. did you catch it? or were you fooled? what else might you be fooled by? who else might be lying to you? in the game? in real life? and then you get to play it again knowing the end, and what the game prompts changes with your new knowledge. now it asks, do you forgive them? what makes someone worthy of forgiveness? where do you draw the line? what do you think?

i dont think i realized until recently how impactful this was for me considering how i first got into dragon age at 16 years old. i dont think i had experienced anything up to that point that would put a situation like judging a war criminal who ordered the deaths of children or another war criminal who just left me to die and orchestrated a near-coup or a traumatized terrorist who just blew up a church right in my face, and said MAKE A DECISION. and i didnt know it at the time, but looking back i can see how valuable it was for me at that age to have what was effectively an avenue of exploration and self-expression of all of these moral and political issues that i was grappling with as a young adult. i played inquisition for the first time just months before i voted in my first presidential primary. i already had a political consciousness at this point, but it was nonetheless new and vulnerable and still blossoming into something more concrete. inquisition, then, almost provided a sort of political, moral and personal sandbox for me from ages 16-20 to better help me understand myself in relation to the world. the RPG-ness allowed me to put myself into these situations - like the mage-templar war and its metaphor for mass incarceration and police brutality - while i was also simultaneously grappling with and trying to understand these issues in real life. having dragon age to help me further unpack my own beliefs and conception of these issues was undeniably impactful. it provided a space, through a narrative i enjoyed and cared about, to make choices and judgement calls and better understand who i was, and what felt right to me. it asked, "what do you think?"

veilguard lacks this. completely. and lets be clear that the previous games did not always do a perfect job. many of these depictions are messy and harmful and problematic, but they at least, by extension of their own existence in a narrative that forces you to THINK and JUDGE and DECIDE, give me the space and opportunity to judge them as messy, as problematic, as harmful. i can confidently say that i think da2 is too sympathetic to the templars as an organization because the fact that da2 presents me with so many narrative conflicts regarding the templar organization allows me to not just make in-game decisions and play as a staunch advocate for mage freedom and circle abolition, but to form opinions on the game itself by extension. i can confidently say that i believe the qunari's portrayal is islamophobic because the game has prompted me so many times; what do i think about the qunari? what do i think about the oppression of the elves? what do i think about dorian being a seemingly good person but defending the practice of slavery? who should rule orzammar; the progressive asshole or the conservative traditionalist? do i forgive loghain? do i forgive anders? do i forgive solas? this in-world critical thinking about issues in thedas leads to meta critical thinking. further questions naturally follow -> what message did the writers intend to send through anders? how can i notice the echoes of how this story came into fruition in the shadow of 9/11? what do solas's endings tell me about the writers view of retributive punishment? how is bioware's portrayal of the dalish, as inspired by indigenous north americans, reflective of deep-seated anti-indigenous canadian sentiment? why did the writers stop prompting these hard questions at all in veilguard? did they only like it when it was about characters, not when it led to critical thinking about them and the company as a whole? through these processes of in-world interrogation, i am inevitably invited to analyze the effectiveness of their narrative portrayals and the writing itself. perhaps this is why dragon age is so famous for its discourse lol.

ive said before that im not sure that veilguard could ever have been as impactful for me as the previous games, partly because when you are 16 everything is more impactful because your brain is an eager sponge, unless it did something that really resonated with me as an adult. but what it should have been, at the very least, is something that could have been as impactful and formative on a current 16 year old that sees a gif on tumblr and decides to check out the game, as inquisition was to me 10 years ago. and im sure there are teenagers and younger adults out there playing this game and loving it and loving the characters and the world and thinking its great, good fun. thats great. however it fundamentally cannot have the same profound, developmentally catalytic experience it had on me because it simply does not challenge the player. it does not prompt them to question their own beliefs and the power structures within their lives. it does not prompt them to reflect on the political narratives they may have been fed all their lives. it does not confront them with the sorts of topics that get books on banned lists in florida and force them to bear witness, to think deeper, to feel guilt or horror at the outcome of your own poorly-made decision, to make moral judgements, to make mistakes, and to live with the consequences.

i think i now understand why veilguard was so disappointing to me and ultimately would be a failure in my eyes no matter if i enjoyed the combat or the exploration or whatever other shiny coat of paint sits atop it. veilguard does not ask much of you. it does not prompt any sort of introspection or interrogation of your presently held beliefs. it does not demand anything from the player except to dodge at the right moment. this is a fundamental, core departure from what made me fall in love with dragon age in the first place. if you love dragon age because you want "fantasy escapism" and fun characters to smooch, then i am happy for you. but i would remind you that can find fantasy escapism all over the steam library - farming sims, cozy games, a witch looking for her cat in the alps, etc. what you cannot find are games that are willing and brave enough to challenge and provoke the player into a better, more thorough understanding of themselves in relation to our world and it's many, complex and daunting political and moral issues. to have lost such a thing, when media like this has become so few and far between, and during a time when we need it more than ever, is a devastating loss.

[glade-constellation]

This might just be a very niche problem I have, but if I don’t say anything about it it’s going to keep bothering me.

Please stop calling the Astrals a cult.

This post is not directed at any singular person, it’s something I’ve seen since the Astrals were first introduced. I know a lot of people throw the word cult around, so I tried to ignore it, but I also think people need a reminder as to want a cult actually is.

A cult, by definition, is “a religion regarded as unorthodox or spurious”. Basically, a religion based on weird or false information. Some definitions go even broader. What people tend to forget about is that cults have specific characteristics that classify them as cults.

First, cults typically display authoritarianism. There is typically one person in the group regarded as the leader, and they are treated with the highest of respect. Anything preserved as disrespectful towards this person is highly frowned upon, and can lead to harsh punishments. The leader can never be questioned and is never wrong about anything they say. There is no accountability to their actions.

You could say the Astrals portray this with Taurus and Leo, but that’s simply not true. They are very loud about their opinions, but they do not set the rules and they are not the leaders. They are simply the enforcers, just as Virgo is the judge. They simply play a role, they aren’t an authoritative leader. Plus, Gemini said some pretty disrespectful things about both and were allowed to have their opinion. Cults do not allow this behavior.

Which leads into the next point. Cults are very particular about behavior. They are isolationist by nature. They follow a very strict set of beliefs and rituals that must be upheld, or you will be shunned. Breaking them can also result in harsh punishment.

This one I can understand. The Astrals are very strict on rules and behaviors. Breaking them can result in death. Once again, you have to look at this in the right context. Astrals aren’t human. Both characters from the show and Reed himself have explained this. They cannot be held to human standards when they aren’t human. They have to have these rules, because one mess up isn’t just an oops situation. It could level worlds, kill entire universes. Lunar permanently disabled Earth, and has accidentally hurt others before with it. His punishment was completely fair considering what was at stake. I’m not agreeing with how they handled his training by any means, but you have to remember what was at risk.

There are other characteristics that just have nothing to do with the Astrals. The zodiac lore humans came up with pretty obviously aren’t real in TSAMS universe, they don’t have any “sacred text” to follow. They are enforcing cosmic rules to keep the balance of nature, not one set person. They work as a group, no single member has more power than the other. There is no abuse or exploitation of members because they aren’t a religion.

You want to call something a cult? Just look at our Dark Star group. Most are over here praising Cetus as some great higher being. They do everything in his name. The only reasons others are allowed to stay is because they’re spreading the DSP, and even then they’re aren’t really considered members so much as underlings. There are levels to their group. The higher you are, the closer you’re considered to Cetus. Anything else, they just kill. It’s about performance, not genuine belief. (There are cases like Rez where there is belief and then they just become deadly, because they believe everyone not in their group truly deserves their fate.) That is a cult. That is a religion built on false pretenses.

Context is key. Yes, Lunar wasn’t really treated with the best respect. There were things the Astrals could have done differently. Thing is, you cannot hold a non-human being to human standards. Plus, the last time they allowed someone to be an Astral, it backfired on them to the extreme (Cetus). When you have that much power, you have to enforce boundaries for yourself so you don’t accidentally kill a world. Lunar wasn’t blameless. He put himself in this situation the moment he even considered using DSP. The Astrals are not the only ones to blame for Lunar’s current predicament. If anything, the DS group are the ones to blame, not the Astrals. Cults will do that. They will exploit your weaknesses to draw you in and then keep you there. The only reason Rez wanted Lunar to join them was because Lunar had power Rez could use for himself. They dug at Lunar’s fear of uselessness and desperation for control of his life. Lunar is a victim, just not of the Astrals.

Cults are a real thing, they aren’t just a tool used in fiction. Real people are affected by them. Please stop throwing things like that around carelessly when you don’t know the true definition. It takes away from their true weight. Victims of cults are told they’re over exaggerating and telling lies. Turning real world problems into simple fictional tropes have real effects on real victims.

[chimuelo2005-blog]

More yapping about Jayce and his relationship with Viktor and Mel cause why not?

One of the most interesting things about Jayce’s character arc is how Mel and Viktor act as these two opposing forces in his life; both guiding him, both shaping him, but in very different ways. Mel represents power, ambition, legacy, the political weight of Hextech and everything it could be. Viktor represents innovation, raw intellect, and the heart of why Hextech even exists in the first place. Jayce is caught between them, constantly being pulled in two directions.

Mel teaches Jayce how to navigate Piltover, how to gain and control his power instead of letting it control him. She gives him the tools to actually use Hextech as more than just an invention— turn it into something that changes the world. Without her, he never would’ve made it onto the council, never would’ve learned how to play politics, never would’ve become the leader Piltover needed. But at the end of the day? Jayce was never truly Mel’s.

Because no matter how much Mel shapes him, no matter how much power she hands him, Jayce’s first and strongest connection is always Viktor. His first choice is always Viktor. Viktor is the reason Hextech exists. Viktor is the reason Jayce even believes in progress in the first place. And you see it in the way Jayce prioritizes him over and over again.

Mel offers Jayce power, and yeah, he takes it—but he hesitates. He falters. With Viktor? There’s no hesitation. Jayce is willing to risk everything for Viktor in a way he never does for Mel. Like, when Viktor starts slipping away, Jayce drops everything. He stops caring about politics, about his reputation, about the carefully constructed path Mel laid out for him. The second Viktor needs him, that’s it. He’s done playing the game. He’s ready to throw away everything if it means saving him. Mel is an influence in his life. Viktor is his foundation.

And what’s really sad about all of this is that Mel knows. She sees it. She knows that at the end of the day, she’s teaching Jayce how to be powerful, but Viktor is the one who actually owns his heart. She sees how quickly Jayce pulls away from her when Viktor starts getting worse, how his priorities shift without a second thought. She spent the entire second part of the show shaping Jayce into a leader, a politician, a visionary—but the second Viktor is in danger, Jayce doesn’t care about any of that. He only cares about him.

Mel may have given Jayce power, but Viktor is the only person he was ever willing to lose that power for. Mel was the one who taught Jayce how to build an empire. But Viktor? Viktor is the one thing that could make him burn it all down.

And that says everything about Jayce.

I've seen some people in the reblogs make good points I missed while making the post, so I'll add them here.

This post is about jayce's perception or what I think his perception is based on his actions. Once said that: No, Mel is not the black girlfriend, that's a huge disrespect of her character, she's a powerful, intelligent woman with complexities and flaws that go far beyond some guy.

I agree that Jayce loved Mel, to a certain point. His favoritism towards Viktor is not even conscious most of the time. He obviously loved and cared for her, if he didn't they wouldn't have been together. My point is that he loved her in a way that would never be matched to the way he loves Viktor, and that's ok. They are two separate people, it's obvious Jayce won't love them the same.

While writing the script, I believe the writers made their relationship to put Jayce between a rock and a hard place at times. Mel is progress, she's powerful, beautiful, kind, She symbolizes everything Jayce wants to achieve (talking about her symbolism in jayce's character, not her own character) . Viktor is his foundation, he's beginning, he's the constant in his life even before he knew it. That's what I mean by saying Jayce was never fully Mel's.

I agree that as a fandom we don't talk enough about characters individually, but I firmly believe that there are characters that you need to talk about while talking about others. You cannot really talk deeply about Mel without talking about her mom, her brother and so on.

I love my girl Mel and I will yap about her soon because she's just too pretty and interesting not to.