#i mean i already started a second playthrough but...

[rogueclass]

It's over. 😭

[jklpopcorn]

crying and sobbing i was supposed to draw doodles of my ocs but instead all there is is Siffrin

they're so shaped i have to draw them

also

100% :)

[dimiclaudeblaigan]

oscar’s 29th time in first place across both games

good for him, good for him

[arolesbianism]

Y'know I was thinking abt how I like to bully alone dupes in oni when they enter the socializing state alone but then I realized... When they're socializing they go to the printing pod. They're talking with their deadbeat mom that's so cute 🥺

[orteil42]

some undifferentiated thoughts about my Starfield playthrough as i have them. i am a game developer with a strong interest in procedural generation and i've enjoyed a bunch of other bethesda games so this might get pretty mean sorry

(this is a long one)

starfield dialogue is already exhausting me "oh you must've been living under a moon rock ;)" get it! because they're in space! this would've been too corny for the Jetsons

there's a kind of cheap dusting of space theme over everything. the food isn't salmon but alien salmon. it's not seaweed but alien seaweed. cooking alien stir-fry. come on

cannot get over how clumsily the theming is handled. books, board games, weapon names revolve heavily around space. these people have been living on alien planets for hundreds of years yet have this unending sense of novelty about it. the game takes itself completely seriously but feels like it's attempting to parody itself

people's EYEBALLS are CLIPPING THROUGH THEIR EYELIDS

a woman is speaking to me in french. her accent is about as believable as her haircut

these are some of the worst reflection maps i've ever seen

next to nothing is interactive. you can sit in chairs and sleep in beds and that is about it. can't even drink from people's toilets. disgraceful

game helpfully crashes 5 seconds after i decide i should get some sleep. very handy!

my character has not said a single thing since i started playing. not one peep. this is an unmitigated improvement over Fallout 4 i'm so glad honestly

the more i poke around the big city the more the NPC quips feel like something out of gen-1 pokemon. can't get enough of this coffee :) this city is where it's at :) spacesuits are comfy and easy to wear

very strange sense of altered reality from the quest dialogue too. has anyone at bethesda met a person before? i move on to some mission that has me scanning wildlife on a faraway planet hoping this will, somehow, feel less alien than human conversation

just as with No Man's Sky, every planet is uniformly dotted with equidistantly-placed points of interest that you slowly make your way to (no vehicles besides your jetpack) which always turn out to be some cave or building identical to those you've cleared before

unlike with No Man's Sky, the seamless exploration is faked and the biodiversity is nil. you do get an impressive amount of raw loading screens however

the prefab bases and power stations found everywhere on planets seem to have very sparse, very specific slots for spawning consumables, which results in encountering some giant industrial installation in the middle of nowhere with, i don't know, a loaf of whole-grain sandwich bread just casually sitting next to it all proper. there is no breathable atmosphere here. who is eating this

planetary traversal is a CHORE. i am saying this as someone who loved Death Stranding

heinous "hold to confirm" buttons sprinkled in various flow-breaking places throughout the interface

enemy AI is abominable. nobody is pathing their way to get my ass. "must've been the wind" taken to the next level. an infant playing peekaboo has more object permanence

hoisting yourself up on ledges when jumping is…nice

companions randomly nowhere to be found. persists through multiple fast-travels and loading screens until, just as randomly, they pop back up

storage space is now limited! unlike in Fallout 4 and virtually every other bethesda game, your containers now hold a finite item capacity. god forbid we let the player have fun

baffling inventory UI. i imagine there's a mod out there that completely overhauls it the way SkyUI did for Skyrim. this should not be needed! how are your UIs getting worse a decade later!

scanning the precious few species inhabiting some dusty planet; one of them is this arching red root i've already seen several times before. my job done in this biome, i travel (read: teleport with a loading screen) to the polar region to find some other species. the first one i catalogue is the exact same red root again but this time it's named "boreas root" todd howard is a genius

some alien horror comes at me full fangs out. i hop on a pebble. obscenely, i am safe

procedural terrain generation beyond dull, impossibly unimaginative. these people have not had one critical thought on what makes a procedural world interesting. beginning to feel validated in my belief that only i should be trusted with proc gen. along with perhaps tarn adams

jokes aside this is making me feel genuinely insane. there have been excellent procedural generation techniques that produce compelling explorable maps for decades now. bethesda absolutely has the budget and know-how to do miles better than this yet somehow they just…do not? the same way Pokemon has decided to just no longer bother with their mainline games despite being the highest-grossing media franchise in history? hello? what is for real going on

some of the most cynical breadcrumbing i've seen in years. approaching some random cave and this person in space gear, who in the vast immensity of the infinite cosmos just happens to be snapping pictures right here, tells me more-or-less verbatim "if you like this place, you should see this other place" [other random cave has been added to your map.]

i do not like how good this makes No Man's Sky's gameplay look. it depresses me how much i have to hand it to No Man's Sky for at least not fucking up this bad. please stop making me wish i was playing No Man's Sky instead this is grotesque

i think i've exhausted my interest and patience for this game at the moment. i'll get back to the main story at some point and try some other systems ie. crafting and base-building to see if there's any engagement to be found but so far, my god. my god

[nimthirielrinon]

I need to talk about Gale’s insecurities. For all his noted overconfidence, this is a man whose entire self-worth is based on his prowess with magic.

He was a “gifted” kid whose abilities started out well advanced for his age, just to begin with. He very much thinks of himself as annoying, which you learn in the Durge playthrough after the dead bard incident, when he says that if being annoying we’re reason enough to kill someone, he’d “be dead 1000 times over!”.

If you romance him and convince him not to take the Crown after the second romance scene in Act 3, he mentions how he’s used to being seen as over-confident and even self-deluded regarding his abilities, which I think would only make him posture even harder as a defence mechanism.

I think for a long time, his relationship with Mystra was likely something he used as a flex on other wizards who had been cruel or mean to him, based on how he brings it up, when he does.

But what gets me is his utter relief whenever he isn’t rejected by Tav. When he first opens up to you, he has pretty much already prepared himself to be kicked out of the party. He’s even got a plan for when his bomb goes off, to do the least amount of harm he can, and when he says “Even I’ve grown tired of the sound of my own voice” I swear his voice cracks and he sounds like he could cry.

If you romance him, when he tells you he’s in love with you, if you say “I love you too” instead of going straight for a kiss, he’s once again relieved. Despite the fact that you’re there with him and have been romancing him, he still has a doubts that you would return his feelings.

It’s no wonder he made the mistakes he did. This is a man who’s been told his entire life that he’s annoying. Though he’s had other mortal lovers (and we don’t know how those relationship were, only that they clearly ended), he is clearly primed for rejection. And then his ex-girlfriend, the goddess of magic herself, tells him she’ll only forgive his transgression if he kills himself.

Like I said at the top, his precocious talent for the weave is the entire basis of his self-worth, unless and until Tav assured him that he has value beyond his mastery of the Weave. It’s no wonder he felt like he had to “prove” to Mystra that he loved her enough. As long as his self-esteem was based on his magical abilities, he was never going to feel like he was good enough, especially for the goddess who is all magic. He was never going to be able to feel as though he was loving her well enough.

I guess what I’m saying is that his “ambition” and his hubris make so much sense when you consider the hinted-at reasons for his insecurities, his clear desire for friendship and affection (he summoned a Tressym who became a lifelong companion and a lava mephit or something with whom he is still in touch; he even says he didn’t have friends growing up), and his main talent/special interest.

I think he’s a superbly-written character, and I definitely feel like he deserves neither death nor godhood, but a good and comfortable life surrounded by a loving family who encourage him to be his best self.

[girlwithadragonheart]

I need to yap desperately about one single gripe I have with this game. MAJOR MAJOR MAJOR SPOILERS AHEAD read at your own discretion

The first half is me ranting about how much certain things mean to me and how impacted I was, and the actual gripe comes closer to the end.

I'll preface this by saying this post is about Varric's death and my rage and despair regarding it, but more so about my Rook's.

I've seen people who said they picked up on the hints about whatnot, who knew before the Fade Prison. I was not one of those people. I was so relieved when I saw him after the Prologue that I didn't think twice, because I knew that it would destroy me the second shit started going wrong.

I was already not having a good time when I started the game simply because Varric was getting older. I don't handle aging well or death, and his design showing his age, and the comments he would make about "getting too old for this" just made my heart break.

And then shit got worse. I sobbed disgustingly when that knife went into Varric's chest.

After Rook woke up from talking to Solas and she heard Varric, I was so gods damned relieved. And my Rook was better taken care of by Varric in that year she spent with him than she was in the rest of her entire life.

I cried from the end of Ghilan'nain's fight until the romance scene and on and off after that. I got so used to visiting Varric just to be comforted by his presence. Inquisition was the biggest part of my life for a year and a half when I was just a kid.

I did really bad middle school age writing for it but regardless of the quality, those characters were built up in my head becoming even more than they were in the game. Varric was my biggest support character through everything I was going through at the time.

I don't talk about it much, but I didn't have a great childhood, and I know a lot of people didn't, but I coped with it through writing and video games. Varric was the one supporting me through the abuse I suffered and writing was the way I processed how bad things really were.

When Rook was in the prison she said "What am I going to find here?" And Varric said "I think you already know, kid." I DIDN'T until he said that. The second he said that my entire chest tightened and I just said "No" out loud as I watched Rook find his body.

Now for my real complaint!!!

Rook never gets the chance to grieve Varric. They go from talking to him every day to finding out he's dead and it was all a lie. I have personally never been more fucking pissed at Solas than I am now. But Rook comes back and they have that kind of "closing off" scene with Varric's empty bed (which was so hard to go through btw). And then they fuck their pookie LIKE I CANNOT BE THE ONLY ONE UPSET ABT THAT

FYM I gotta find out my dad is dead and then Rook is up for boning like there's no fucking way unless it's to cope. And at least pertaining to the Lucanis romance, Rook is processing everything that happened and they can say "So much has happened, I just don't know how to feel."

And rather than getting to process that in some kind of way, the devs said nah this scene serves one singular purpose, and Lucanis says "I do" and then dicks them down.

Personally, I felt very dismissed despite being overjoyed about finally having the romance scene, I couldn't even enjoy it with everything that happened prior.

Rook deserved the chance to completely break down after everything they went through. Tbh i don't know how they kept it together. Varric said "don't get all misty eyed" and i thought to myself that's way too delicate a term for what's happening here, I was fully ugly crying.

Fuck your "I had a good run" I still need you bitch.

All this to say I'm very upset, and I'm running my second playthrough and every time I look at, hear, or talk to Varric I tear up again. Wtf Bioware.

Rook should've gotten the chance to actually talk about what Solas did to them, especially in the sense that he made them believe Varric was still there. Or at least get to properly grieve the person who was their closest friend for a long time.

I have very strong feelings about this obviously

[ironunderstands]

Double Indemnity, Spellbound and how a retroactive plot twist kicked the communities ass (which also has some VERY interesting implications for Aventio)

I had a very enlightening conversation on TikTok about the nature of these two romance/thrillers, and while unfortunately, I have no idea how to watch them, the plot synopses I’ve seen and analysis other people have made have caused me to come to this conclusion/interpretation of these references:

On the first viewing of the Double Indemnity questline, the reference to the DI movie is meant to be played straight, with Aventurine and Ratio being just as doomed to fail as they are in the movie, and their relationship as equally as toxic and fake.

On second viewing, it’s the complete opposite, and the track (and other movie reference) you receive at the end, Spellbound, proves it.

Let’s start with Double Indemnity.

Also disclaimer I’m gonna be over simplifying the plot/themes of these movies because a) both are singular references, DI is only referenced in the name of the quest itself and Spellbound is only referenced in a track you receive once you complete DI, and references this small probably aren’t meant to be anything more than a fun Easter egg for those who notice it b) this is hoyoverse they aren’t clever enough for that anyways c) the nature of references isn’t going to be having everything be the exact same anyways, so I’m just going to go with the overall interpretation of DI + Spellbound/their impact, picking the stuff which aligns with the actual plot of the DI quest, I don’t care what happens in one frame at 30:01.56 minutes in and neither do the writers

Anyways, how does the Double Indemnity reference on the first viewing seem?

On our first play through of the Double Indemnity quest, we are made to believe that Dr. Ratio and Aventurine do not trust each other, but they are begrudgingly working together for the sake of stealing Penacony for the IPC. Then, Aventurine makes it seem as if he wishes to use the singer Robin’s- also the sister of Sunday, the head of the Oak Family and the one they are negotiating with- death as a means to pressure Sunday into forking over some of the Family’s secrets, which Aventurine will then use against him in future negotiations.

With this setup, the Double Indemnity reference is a solemn warning- Aventurine and Ratio will fail.

You see, in the movie, Phyllis Dietrechson intends to kill her husband in order to earn the money from the Double Indemnity clause (which is a real legal thing btw!), roping in one Walter Neff when he falls for her. However, their relationship isn’t stable and in the end, Walter betrays Phyllis, ratting her out to the investigator Keyes, ultimately meaning they don’t earn the DI clause, also killing Phyllis in the process.

Hopefully you can already see where I’m going with this, but it’s time to draw some fun parallels.

Sunday is Keyes, Ratio is Walter, Aventurine is Phyliss and Robin is Phyliss’s husband.

Although Aventurine a) isn’t married to Robin and b) he didn’t actually kill her, he is the one who witnessed her “death” and in the first viewing of the Double Indemnity quest, we are made to believe he intends to profit off of it, although this time the payout isn’t money: it’s Penacony.

To do this, he enlists the help of Ratio- albeit not seducing him, but still convincing him to help nonetheless- and together they go to meet Sunday for negotiations.

However, Ratio “betrayed” Aventurine, ratting him out to Sunday behind his back and informing him of his plan, which mirrors how Walter confesses to Keyes. This results in Aventurine being sentenced to death, much like how Phyllis dies by Walter’s hand, Aventurine seems like he will die by Ratio’s, calling him a wretch before slinking off.

And there you go, their partnership is as doomed as the one in the movie, failing because their trust + love didn’t hold up till the end, a devious foreshadowing.

At least, that’s how it seems on the first playthrough.

Because Aventurine and Ratio’s plan SUCCEEDS.

And on the second viewing, knowing that the betrayal is fake, you realize they succeed because they do the one thing the people in DI (and I’ll get to Spellbound) DONT do- they actually TRUST each other.

Ratio and Aventurine’s plot is a success. And it’s because they deliberately made it seem like they were doing a Double Indemnity plot. Like they were going to make the same mistakes as the characters in the movie. Sunday falls for the false appearance hook, line and sinker, and that’s his downfall.

They win because they TRUST each other, you can even say because they actually LOVE each other, unlike the characters in the movie, where it’s more list than anything else. Walter and Phyllis don’t make it together to the end but Ratio and Aventurine DO, and they get to continue on with their lives because of it. The reference to Double Indemnity in this quest is genius because it works both before and after you learn the retroactive twist of Penacony. It makes you believe Aventurine + Ratio are doomed to fail, and it makes you realize they were always going to succeed, expertly dawning the false appearances Sunday expects from them, becoming literal actors playing out the roles of two people who will fall short due to their selfishness. Sunday believes he’s seen this film before which is why he BUYS IT, and god it’s just beautiful looking back on it. He thinks he’s Keyes about to uncover a dastardly plot to profit off his sisters death, and in turn he paints Ratio and Aventurine with the identities of those he believes would do such a thing, which they do their best to play into. Ugh it’s amazing.

And now, for Spellbound.

You receive this track after completing Double Indemnity, containing the description above.

Now, this is a reference to Spellbound, another one of Hitchcock’s films.

The main characters in this one are Dr. Anthony Edwards, a man suffering from amnesia, and Dr. Constance Peterson, a psychoanalyst who he was meant to replace, who discovers a dark secret about Edward’s while they fall for one another; he’s an imposter. He believes he killed the real Dr. Edward’s, but she thinks he’s just suffering from a guilt complex. Fake Edward’s goes missing, and the real Edward’s assistant arrived and informs them that he’s missing. She finds Fake Edward again, living under the pseudonym John Brown, and although he tries to leave, she convinces him to stay, telling him that with the help of her mentor, psychoanalysis can help recover his lost memories.

Through an incredibly complicated psychoanalysis of dream, Constance begins to uncover the truth- learning the person who believes himself to be Dr. Edward’s (and is using the pseudonym John Brown) is actually a man named John Ballantyne. Ballantyne accidentally caused the death of his younger brother in the past, resulting in his deep guilt, as well as recalling the location where the real Edwards died- skiing off a cliff to his death. With his memories, they find the body, but it has a bullet wound, so Ballantyne is taken into custody.

However, her boss, Dr. Murchison lets it slip that he actually used to know (and didn’t like) Dr. Edwards, and through another complicated sequence gets him to confess his guilt and ultimately kill himself, which frees Ballantyne, ending the movie with the two going on a honeymoon.

So, what does this mean in the context of the quest line?

Well, let’s say Ballantyne and Constance are representative of Ratio and Aventurine respectively.

“Every psychoanalyst must first have someone else diagnose them.”

If we read Aventurine as the psychoanalyst (Constance) and Ratio as the diagnoser/doctor (Ballantyne), it reveals an interesting interpretation.

That being that they knew the truth from the start/ they had already succeeded.

Or in other words, unlike in Double Indemnity, in Spellbound, they actually succeed.

In the film, Constance is the one doing the diagnosing, the one trying to figure out the truth, and you can see that in Aventurine pretending he’s trying to find out the truth behind Robin’s death. However, in the DI quest, it’s the opposite. Ratio’s as Ballantyne is the one doing the diagnosing for the psychoanalysist, Constance, or rather, Aventurine.

To diagnose someone, you must be very familiar with them, or at the very least the ailment plaguing them, and Ratio he knows Aventurine through and through at the start, and what plagues him (his own sense of meaninglessness) unlike the protagonists in Spellbound who despite falling for one another quickly, don’t begin being intimately familiar with one another.

In this way, they have already succeeded. Aventurine and Ratio already know one another, and while they might not know the reason behind Robin’s death, that was never what they were searching for in the beginning, meaning they effectively can skip through all the drama (aka the ups and downs of Spellbound, finding out the truth behind Robin’s/Edwards’ death), and reach their happy ending- a honeymoon; or in DI’s case, Aventurine attaining his cornerstone, and fulfilling his end of the plan.

Interestingly, Aventurine slots into the role of Ballantyne and Ratio as Constance equally well, with the phone call Constance makes to save Ballantyne being reminiscent of the note Ratio makes to save Aventurine, as well as Aventurine being the replacement, or in the sense, the one to find the truth about Robin.

Personally, I think Aventurine and Ratio are reminiscent of both the main leads in Spellbound, which is why it’s complicated to discern the meaning of the reference. Oh how I wish I knew what the original Chinese description for this was (if you do please tell me 🙏).

Is it just meant to signify them being in love? Is it meant to signify that they will succeed, due to how well they know each other? Is it both, which is what the inclusion of Double Indemnity (the movie) suggests?

Either way, it adds onto the already present idea that the trust between Aventurine and Ratio is what allowed them to succeed in Penacony, and that’s not just something expressed by these movie references.

Think Aventurines Eidolons: Stag Hunt Game and Prisoner’s Dilemma, both of which are game theories about trust. Or how Aventurine says that Ratio knows him best, or how Ratio entrusts Aventurine with close secrets of his, like him being the “Genius” of the council of Mundanites.

“Do you trust me?” “That depends on you.”

These are 2 lines in their 2.0 conversation that really stick out to me. Ratio will always offer his trust so long as Aventurine can prove himself worthy of it, and as we have seen, Aventurine always delivers, proving himself long before Penacony in the Final Victor lightcone, albeit in his weird homoerotic way.

Therefore Ratio will always trust him.

And because of that, they win.

Now whether you take the deep trust between them to be romantic or platonic, or infer the literal honeymoon at the end of Spellbound to mean something for Aventio, either way the feeling absolutely there, and it’s crucial for an understanding of their relationship.

Also damn, the retroactive plot twist fucking slaps.

[spitblaze]

Mouthwashing spoilers below cut, played through it again today bc i accidentally nullified all of my achievements through the dev console. oops

Okay so the first time I played through it I was high and it was very late at night. Already a great start but it means I missed some shit my first time through and I'm already not exactly stellar at more abstract literary analysis. LUCKILY this site is full of people who are way better at that than I am (and im convincing my partners who are also way better at it than I am to play it soon too).

Luckily I'm better at lit analysis than whoever the weirdo on the Steam forum saying this game is bad because it 'doesn't punish Jimmy for his actions enough' as if this isnt a horror game primarily about his guilt-induced mental breakdown and if i have to see anyone else say that anya is a poorly written character im going to poorly write them out of existence because I'm inclined to believe that if you think that you either weren't fucking paying attention or have subscribed to the Joss Whedon school of feminist writing which is 'good writing of women is when they are girlboss'. like sorry shes too much of a depressed traumatized Fawn Response rape victim for your liking. jesus christ

Anyway the game being short DOES lend itself well to multiple playthroughs, which honestly is for the best because its really one of those stories that reveals a lot more on a second viewing. There's a Lot going on here but as far as I can tell, the biggest themes here are what it means to 'take responsibility' as well as autonomy and the loss thereof. The responsibility one is for sure the most obvious one, how many times in the game does it directly say 'take responsibility'? How many times does Curly say 'I'll fix this', how many times does Jimmy say he'll 'fix this'? And ultimately, how successful are either of them?

Curly's a good leader, sure, but how much does he just let slide for the sake of 'the big picture'? Daiske was a last minute addition. He's a good kid, but he didn't make a stink about it. Gotta think about the big picture. Anya has told him about what Jimmy did to her. Nothing. 'What would you do?' 'Anything.' But nothing. Absolutely nothing. I'm not gonna sit here and say that Curly is 100% every bit as evil as Jimmy, if someone is raped the blame falls squarely on the rapist- but it's completely on Curly for not taking action against Jimmy for the sake of the big picture. He really could've done anything. Fucking anything. It's not necessarily on Curly to foresee that Jimmy's stress response would be to end it and take everyone else with him. But it was on him to do something about a known violent assault and its perpetrator before anyone else got hurt. He's not a perpetrator, but he's an accessory. He may not have deserved the punishment he got. But he's nothing if not agonizingly aware of the consequences for not taking responsibility for the actions of his crew.

Jimmy, meanwhile, is obsessed with responsibility despite the fact that he's incapable of actually handling it, from the very start. It's not clear when exactly he assaulted Anya, but I assume it was after Curly broke the news to the crew. The moment even a shred of consequences emerge, the minute Anya tells him that she's pregnant, his first course of action is to deliberately sabotage the ship. Murder-suicide. He says he's sorry. That he made a mistake. As if there were not multiple, deliberate steps at which he could've stopped and realized what he was doing. After everything, he tells the crew it was Curly's fault so he could have more of that responsibility he desired so much. Not that anyone respects it except maybe Daisuke.

But he can't handle even the most basic of responsibilities there, either. A handful of menial tasks and he fucking snaps at the woman he hurt to begin with, even when she only ever acts the way she does around him to avoid further hurt. 'Take responsibility'. But he can't. Over and over he'll tell the vision of Curly he's made in his heads that he's sorry, that he'll fix things, that they'll all make it. And then he just keeps making things worse. And worse. And worse. Anya's going to hurt Curly, she's suspect and violent. Swanson won't let them into Utility. That's suspect, he's going to get out of here and leave everyone else behind. They both have to be stopped. Don't you trust me, Daisuke? Don't you trust your captain? That's why YOU have to go through the vent. He cannot fucking take responsibility, only goad others into doing things and handling things as underhandedly as possible. No wonder Curly laughs when he takes the gun. Anya spent all this time trying to keep it from him. And he got it anyway, because that'll all Jimmy knows how to do. Take and resent and hurt. His own twisted version of 'responsibility'.

It genuinely pisses me off how many people write off Anya as being 'badly written' or write her off altogether, especially considering the VERY OBVIOUS character she's based off of, being Wendy Torrance in The Shining (Yes I'm aware there's baggage around that particular character's strength of writing too, but I'm not about to go off on a rant about a movie ive only absorbed through cultural osmosis). Like...she's not a perfectly written character, no- her arc is less about her as a character and more about the things that have been done to her. Sexual assault used as a narrative device, nothing new there- it's at least less egregious in a horror story, where fear and trauma and terrible things happening to good people is kinda the whole thing. My big issue with Anya's writing is that we didn't get more of her- more exploration of how Jimmy's actions affected her, more exploration of how her and Curly are that much more alike after the crash- it's not a very long game to start, and given her character and the situation I don't necessarily disagree with her going out the way she did at the time she did. It just would've been nice if they'd utilized the nonlinear structure of the whole thing to explore her more, y'know?

Given Jimmy's PoV it makes sense that he's more fixated on the consequences of raping her than on the woman herself, but from the Doylist perspective, like...c'mon, give us SOMETHING more to work with. And like I said before, it pisses me off that people see a woman who doesn't immediately fall into the 'girlboss' role when shit hits the fan and then write it off, as if the premise of the story isn't about everyone's reaction to a hopeless situation spearheaded by a violent, manipulative, self-centered shithead. Swansea's the most capable person here outside of Jimmy and Anya, and I've yet to see anyone saying his character was weak because he spends most of his time drinking and raging instead of taking action. I'm mostly just upset that I don't have much more to say about her outside of her relationship to the rest of the crew. One could argue that most of what we are is defined by our relationships to others, and the nature of the game means that we don't really get a deep peek into anyone's psyche besides Curly and Jimmy.

I like how she invokes the metaphor of that dead pixel, the detail that sticks out like a sore thumb to her, always in the back of her mind, ever-present, that Curly can't see and never will because he's too busy looking at the big picture. I like how they establish the nature of Jimmy and Anya's relationship without being too direct, putting up that brave fawn act while he's there- she has to, the ship is only so big and they're so off course that rescue seems impossible- but she doesn't sleep in the same room as everyone else, she won't confide in Jimmy, and his mistreatment of her was what finally drove her over the edge. Jimmy's more concerned about what she might do to Curly that what she might do to herself, and he KNOWS that she's prone to mental breakdowns- often caused by himself, if not by Curly's state. The whole thing is tragic, but Anya's case is particularly saddening. Even after her death, she's paraded around like a puppet so that Jimmy can have his macabre little party. He doesn't care about her. He never did. And yet he's haunted by her, the 'sexual thoughts of cartoon horses' intermingling with his strange psychosexual hatred of the nurse just trying to do her job, haunted by the consequences of his actions because he's too much of a fucking coward to really, honestly and truly, take responsibility.

Swansea and Daisuke I have less to say about, ultimately. They feel a lot more straightforward in their narratives, at least from my perspective. Daisuke's a dumb kid with a shitty internship and he's so upbeat and positive that it genuinely pisses Swanson off, which means that he does ultimately care about the kid. A+ dynamic. Seems like a prick on an initial playthrough, but on the second run through I get it. He's old enough, he's seen enough, he knows exactly what Jimmy is and doesn't buy his responsible act for a second. He's not a captain. He's just some shithead who acts like he can handle it but flees in the most destructive way possible the second the consequences rear their head. He's a man that, even in the throes of substance abuse, does a better job of taking responsibility than Jimmy ever could, and arguably better than Curly ever did. Instead of just shrugging his shoulders at a last minute intern, he took him under his wing and started training him. When shit hits the fan, his instinct is to protect Daisuke- the one person who IS his responsibility. When he really, truly does not believe there is anything else that can be done, he puts him out of his misery. Maybe he was saving that cryo pod for him, too. It's hard to say, but the fact that he's the only one who stood up to Jimmy and saw him for what he was makes him that much more likable.

Daisuke...oh, Daisuke. He couldn't have known this was coming. He was doing his best, he just did what he could, he tried to be helpful and kind and be a good person. And for that, Jimmy used him and got him killed because he was too much of a goddamn coward to apologize to Anya, to see her as anything besides a nuisance at best. I get why Jimmy is so fixated on his death- as far as he's concerned, his first real failure, since Anya was such a non-issue that he didn't even have anything to say about her lifeless body. It wasn't just his inaction that got this kid killed, it was his actions. He had every opportunity to use even a single ounce of his brain and recognize that there are other people on the ship besides him and Anya, to recognize that these psych evals aren't just for the sake of the individual. And for that, Daisuke died. Way to go, hero.

The autonomy shit...god. Psychological trauma can be just as incapacitating as physical harm, can't it? Anya completely changing her demeanor after being assaulted, her body no longer just her own. I want to see the horror of that from her perspective, the invasion and the terror and revulsion of having something like that growing inside you. How sickening it must feel, how just the knowledge of its existence makes living that much worse. How the man who did it is still nothing but despotic. Curly, finally seeing Jimmy for who he truly is firsthand. It's all well and good to believe in someone, to trust them and want to help them overcome their struggles. But being choked and beaten and abused by them, day after day after day, because you had the audacity to sit a little higher on the totem pole than they did, because you had what they wanted, because they couldn't stand seeing someone better off then they were.

It's kind of mind-boggling, honestly. I've...kinda been there, with people who I know are still there, they're fully in there and aware and the same person they've always been, but their means to communicate with the outside world is cut off. I was fortunate enough to have been listening to a lot of disability activists around the time my aunt started losing her speech. It seemed a lot of times that the only people who really recognized that she was still there were me and my uncle. Even my mom, her older sister, inseparable for life, started treating her like she was suddenly a different person, not capable of really understanding her or wanting or doing things for herself.

So, like- not trying to be selfish or anything, just doing the autistic 'oh i can relate to this' bit, particularly about Jimmy projecting all of this shit onto the captain when he barely has the capacity to laugh or cry, let alone speak. His savior. His best friend. His bitter enemy. Beating him relentlessly while giving him his medicine for having the audacity to be an inconvenience. Let's eat some cake. I want to go home. Curly is just a man, and Jimmy regards him as helpless, antagonistic, and a god all at once. He'll thank me for this one day.

So uh. Many thoughts, head full. After the end of the bizarro sequence with Curly heading to the cockpit, the door is very small. A black pixel, the one stuck in the back of Anya's mind. A graveyard full of mausoleums, every one of them with the same epitaph as the bizarro one for Daigo in ch 14, and the one you can enter with his face on it. Not a single one for Anya. The Polle at the end having the same blue text as Anya, haunting the narrative just as much as Curly, just less overt. I'll fix this. I'll take responsibility. God. God jesus fuck damn hell christ son of a bitch. Fuck capitalism for putting their employees on such tight strings and skeleton crews that a collective pink slip can send people into this kind of spiral (or rather can give Jimmy a good reason to convince everyone else that all of them are completely fucked except for the captain and Daisukle) and fuck Jimmy. Fuck him. My one other complaint besides the feminist critique above is that theres some sequences that go on a bit longer than they really should (ch. 14 getting the mouthwash, most of the vent segments).

Fuck you, Jimmy.

I hope that gunshot hurt.

[michanvalentine]

So, I started my second playthrough as Astarion. Partly because I wanted to try romance with Shadowheart (I'm not sure I would have succeeded with the vampire available at the camp, lol), partly because I wanted to understand Astarion's character even more deeply. Fortunately, having already played the game I'm going significantly faster (and therefore my husband probably won't ask for a divorce). At the moment I don't want to talk about this second experience of mine, but only express some of my reflections regarding the character of Astarion. I certainly won't say anything new, but bear with me, I'm of a certain age and I only finished the game recently! xD

Astarion: It's not fair, darling, I wanted to be the only one holding knives to other people's throats!

Browsing the web I often read that Astarion is evil. I think instead that judging him is all too easy, if we consider his vulnerabilities. And yes, that's exactly what it's about: vulnerability. Because Astarion doesn't have the means to defend himself or approach the world in a way that we would consider healthy. For example, Tav/Durge could easily take advantage of him and Astarion would let him do it, which is uniquely sad (spare me, I only saw it on YouTube, I would never dream of doing something like that to him). As much as he tries to disguise it with his charm and his sharp tongue, Astarion is a victim. At the beginning of the game he still thinks and acts as if he had never left Cazador's pleasure chambers, despite the freedom he has gained. One of the very first things he does is prostitute himself for Tav/Durge's favor, hell! And if they wants, Tav/Durge can act towards him as a surrogate master who decides for him (what he can or cannot eat, whether or not to bite the perverted blood merchant, etc); and, again, Astarion will let them do it, because he is used to it that way. And when things go differently, he is surprised and doesn't know how to react. Astarion knows nothing else. He is literally incapable of anything else. Cazador himself says it, in a truly chilling way. Because it's damn true. And sad. In the mind of the abuser, the one who created and shaped him, it is clear as day: without a figure to refer to, for better or for worse, Astarion does not know what to do with his life. Not anymore. Not after Cazador made him his obedient puppet. For 200 fucking years. In fact, Cazador is certain that without the presence of Tav/Durge (the alternative) Astarion will return home to him. Even if it means sinking into a nightmare again. Or even die. Because Astarion has nothing and no one out there for him. And it's such a real concept that it breaks my heart, because even in real life abusers scorch earth around those who are unfortunate enough to end up in their clutches. So that they can never escape from them.

Astarion: I mean... five minutes ago I was in the kennel... and now I have to save the world without even a bit of therapy?!?! Of cooourse, what fun!!!

Yes, Astarion was once a magistrate. And no, not a corrupt magistrate; there is no evidence of this in the game and as far as I know the old concept for his character has been discarded. On the other hand, I have the clear feeling that he was a rather severe and intransigent magistrate, yes, which may have led him to the tragic night of the attack by the Gur. In any case, the person he once was is dead and buried. Cazador took it. Eradicated in 200 years of torture and replaced with another existence: the vampiric one. And we know well what the rules of vampiric society are: Vellioth passed them on to Cazador and Cazodor to Astarion. So the magistrate (with all his wealth of experience) is no longer a part of him that Astarion can appeal to extricate himself from the complexity of the situations he suddenly finds himself experiencing, free from the control of his master. The boy doesn't even remember what color his eyes were anymore! And that's why he is completely defenseless. And scared. Even the possibility of finally being able to decide causes him deep anxiety.

By defenseless I mean that he does not have the skills (or at least a shred of self-esteem) to manage relationships or situations in an adequate and healthy way, let's be clear. Therefore on many occasions he acts or reacts (and it is how he behaves, let's underline it, not what he is) selfishly or even cruelly. Often just to give himself a tone and not always feel miserable as usual.

So I wonder if someone who has just begun to live again, to rediscover the world and himself, can be called evil. At the end of his quest Astarion himself will declare in front of his tomb that he must figure out who he is and what he wants. So the Astarion we met at the beginning can't be the real Astarion, right? It cannot and must not be the Astarion on which to base an objective judgement. Not to mention that being evil and performing evil acts are two completely different things. Wyll is a good guy, yet he made a deal with a devil, for example. In extreme situations even the kindest and most sensitive person in the world could find themselves carrying out controversial actions. None of us will ever know what we are capable of, for better or for worse, until we find ourselves in similar situations.

If we then consider the context in which the character of Astarion moves, I wonder more about why there is such a stir. In Faerûn killing, threaten or deceiving are the order of the day. For everyone, including heroes. Lady Ailyn is literally a beacon of hope, a demigoddess daughter of a good deity, yet she can be terrifying. The way she punishes the wicked is inhumane, violent. Outraging the body of the downed enemy is not a good deed. It even goes beyond punishing the evil one in question. For us in the real world it is a crime punishable by law. For her it's a personal matter, of course, we know this from her story. So why can't Astarion enjoy violence and blood? He is a vampire, he cannot eradicate certain instincts. And it's great to hear him say it in his own voice, point out the hypocrisy and the double standards: "It turns out no one actually cares about murder, as long as you murder the right people." And after 200 years of impotence, tasting power and enjoying it seems to me at least the least. Of course, it's not a good thing when it comes to bending others to your will. But, as stated, carrying out an evil action (or boasting about it, because Astarion often barks and doesn't bite) does not necessarily mean being evil.

Astarion: I see you there, stumbling. Pathetic. Leave room for the professional, who better than a rogue can move lightly on the thin line between good and evil?

I think that saying Astarion is evil is completely flattening his character. People are not that simple, nor are circumstances or where we come from. At the beginning of the journey he behaves like an asshole, yes, and exceeds in his base instincts which he must learn to control. But he is willing and able to learn and that makes all the difference in the world. Of course this depends on Tav/Durge, on the player himself, the only one who can show him another way. Or not.

I also add another consideration; and I get involved too because I'm human and not a saint. In living everyday life we ​​are much more similar to the character of Astarion than to the classic hero. In small things, of course, we mind our own business, we try to avoid trouble, we compete with others to achieve a goal to the detriment of competitors, we don't risk our lives for complete strangers, at most we call the police; effectively letting someone else deal with it. All this while having a normal life, without having to fight for survival. We lie, we talk badly about someone behind their back, we hurt the people around us. Then maybe we'll apologize... but I'll tell you a secret: Astarion is also capable of doing it! So I wonder if sometimes it's so easy to be so hard on him because in him we see the worst traits of human beings, our worst traits. The ones we reject. Just as Astarion is harsh towards those who share his same fate, because: "I just... I never want to see these little scraps of misery again. The world doesn't need to know my shame."

To top it off, the game and interactions change depending on how the player approaches their adventure. The choices I made in my heroic playthrough probably led me to see a part of Astarion that was decidedly human and not very monstrous. And despite my heroic (and rhetorical, lol) acts, his approval was always pretty high. Let's say I had fun defeating him with my patience, unconditional trust and so much kindness. I will never forget his line at the brothel: "Eugh, dont' be so nice to me! It makes me want to be nice back." Priceless.

[myhaikyuuacademia]

Mirror | Astarion x reader

Summary: You tell Astarion what you see when you look at him Warnings: toothrotting fluff, timeline is nawwwt accurate from what I know I just mashed stuff together A/N: I haven't played bg3 or even seen a playthrough but I'm absolutely obsessed with him fhdsashddjjks this was supposed to be based on a scenario I thought about but by the time I started writing I’d already forgotten like, all the dialogue so yeah…

Astarion hasn't seen himself for 200 years. The day he turned, he lost all sense of self, and even now, it was difficult to regain some of it, when he didn't even know what he looked like. It frustrated him, to a degree he would never openly admit. He was looking into an empty mirror again, a routine that he had gotten tired of long ago. When he heard you coming his way, he turned around and put on his carefully crafted mask of charm and flirtation. With open arms and flair he greeted you, "y/n! What can I do for you?". With furrowed eyebrows, you stopped in the doorway. Something was wrong, you couldn't quite put your finger on it but there was something that caught you off-guard. "Nothing, Team meeting in 15." You told him, ready to let it go and turn back around. He was Astarion, sometimes he was just weird. But for some reason, this time, you couldn't. "What's up with you?" You didn't mean to sound accusing, but it was almost as if you were pointing your finger at him. "With me?" He raised his eyebrows in fake innocence. "Nothing." At that you squinted your eyes and, unconsciously scraped your teeth across your lips. Completely focused you took some more steps towards him, into his room. "Something is." You said with certainty. He rolled his eyes playfully dramatic. "I was just looking at myself in the mirror" His voice was lighthearted, almost as if he was joking around, and his face showed no signs of the discomfort the emptiness had brought him just minutes earlier. "But you can't see yourself in the mirror." You pointed out, eyes darting to the mirror behind him and the absence of his reflection, only seeing your eyes staring back at you, when they should've been blocked by his shoulders. "That's the problem, darling."

He sighed, his voice carrying a heaviness this time around. You pushed away the fluttery feeling in your stomach that you always got when he called you by one of his many, many pet names, and walked even closer towards him. "You want to see yourself." The shift in your face and your voice was immediate, a rarely seen softness taking place. "I do." He said arrogantly, desperate to put the crumbling walls back up in place. "Not vain at all huh." Soft smile on your lips as you joked. He sounded so sure of himself when he said, "Oh Darling, you know I'm gorgeous." . Rolling your eyes playfully, a soft chuckle escaping your lips, before turning somewhat serious. "Yeah. But do you?" He just looked down at you, face hardened. You opened your mouth, but ended up closing it again. The second time around you were braver, and lifting your hand you asked softly. "May I?" Hand hovering next to his face now. Furrowing his brows he nodded and you placed your hand on his cheek, your other hand swiftly joining on the other side. He tensed for a second, before forcing himself to relax. Your eyes dropped down to where your hands were now, thumbs softly following the lines etched into his skin, perhaps from years of forced smiles. "You have lines here," you whispered, smiling to yourself. "I like them a lot." Truthfully, you could've spent hours just tracing them, but you forced yourself to go on, moving one of your thumbs to glide down his nose. "A strong, straight nose." You skipped his mouth, leaving it for later, and instead went straight to his ears, cupping the sides of his head with your hands. Tilting your head and playing with the curls framing his ears. "Elven ears, surrounded by grey and white curls." You made sure to trace his ears in their entirety, so he could feel their exact shape through your touch. "Your hair always falls just right, it's kind of annoying." You joked, exhaling through your nose amused. Your fingers were weaving through his hair now, slowly untangling small knots you found along the way. Your eyes were still following your hands. Reaching the top of his head, you tugged his hair back a bit before letting your hands travel down to his forehead, and then the small space between his brows. "You always furrow your brows." Your thumb rubbed over the crease, making him ease up. You didn't notice, but Astarion did, how your eyebrows furrowed the same way his did when your thumb moved across the skin between his eyebrows. A satisfied smile spread across your face as he unfurrowed his brows, and your fingers glid over his eyebrows next. "They're the same color as your hair, and I'd say maybe almost as thick too." Your hands came to rest on the side of his head again, slightly higher than before when you'd traced his ears. And for the first time in a while you looked him in the eyes again. "Your eyes are red. And they never reveal what it is you truly think." He snorted and rolled his eyes. "Just tell me I'm the most darling man you've ever seen and move on." But his voice faltered and it lacked the bite it normally did when he flirted with someone. Your hands slid down to cup his jaw, but your eyes were still trained on his. "You are. No one else compares. You're incomparable, Astarion. But I'm not done yet." Your eyes fell down to his lips, thumb brushing against them, and into where his fangs were. "They're so soft, I love when your lips are on my neck." It was almost as if you were mumbling it to yourself, but he heard you well enough. His hands flew up to grab your arms, holding them in place. You looked up at him. “What?“ You breathed out. “You‘re ruining all my plans, sweetheart.” He growled in a low voice, dropping his forehead against yours and closing his eyes. Your thumb was still on his lip, his fingers still digging into your skin where he was holding your arms.

For a second you both just stood there like this, savoring the moment, before he spoke up again, as he moved back. “It was easy enough. Seduce you, sleep with you, manipulate your feelings so you’d never turn on me.” It seemed to pain him, saying these words. “200 years of instincts and habit kicked in. All you had to do..” he paused for a second. “was fall for it.” Looking at him, you waited for him to go on. If you were honest, you’d suspected as much, but it didn’t feel like the right moment to say it. He took a deep breath. “And all *I* had to do… was not fall for you.” He continued, “which you have made quite impossible, darling.” A second passed. “It's as if the gods made you only to ruin me.” Dumbstruck you stared at him, and it took you a few seconds to find your voice. “Astarion…” you simply managed to whisper. “You deserve something… real. I want us to be something real.” His voice made your heart hurt, never had he spoken to you in such a soft and broken tone. “I want that too.” You removed his hands from your arms and held them in yours and in an attempt to lighten the mood you said: “I totally knew about that, by the way. The manipulation part that is. Not that- not that you’d actually fallen for me… It couldn’t stop me from falling for it -- falling for *you* though.” You sighed. “Quite annoying actually.” You scrunched your nose jokingly. “Isn’t it?” Astarion confirmed, voice still ever so soft, same as his eyes, and his hands. Everything about him really, was in this moment, so incredibly soft. You hoped to remember this forever.

[allmannerofmalady]

In continuation of my clownery, I started a new DATV playthrough because my beloved Inquisitor looked so jarring I had to remake her and replay like 20 hours of the game. But hey, I made peace with the fact that I am playing DATV to wrap up Inquisition and get an ending scene at this point, I'm not currently foreseeing a second playthrough, so I gotta do it right, y'know?

Spoilers, and me complaining at extreme length, yet again, about my own personal expectations vs reality into the void. Please ignore if DATV negativity is something you prefer to stay away from, protect your peace & what you enjoy.

So I replay HOURS. I'm having fun killing everything as fast as I can - I don't know what it is about playing as a rogue in this game that has tickled my ADHD brain so much, but I'm surprisingly really good at the arrow bonanza and relentless enemy aggro?! This turn based bitch? I digress.

I see my bb Inquisitor Lavellan - she still doesn't look like herself, but I can live with it. She got some ill-advised fillers in Tevinter, she's been through a lot, let her LIVE.

This time around my strategy is pure lore hunting. I'm getting every codex, I'm SQUEEZING this playthrough for whatever lore/easter eggs I can get because idk if I'm going to play again. I got all of Solas' murals early on, got Mythal's essence before Weisshaupt even, I think. BUT WAIT! I have one more treat! The locked room in the Lighthouse! Solas' study! There must be something juicy for all the effort, right? RIGHT? :'D

I know it's been beaten to death, but PERSONALLY, the game still feels incredibly flat to me, jarringly so. If I'm in the Dreadwolf's home, I want to snoop. I want Rook to look through his library, his books, his garbage bin. I even remember the devs saying they wanted being in the Lighthouse to feel an old friends house, or something? I could be wrong, my brain is fried. It's not just a Solas thing - I'm playing this game because I'm desperate for info about the characters I love, but as Rook, we are IN Solas' HQ and I want to rip open the floorboards. I'm trying to RP as much as I can RP in this G.

Anyway, I was so thirsty for something more, something deeper than just these lovely environments I cant do much with, and notes on how Solas hoards raisins - so I collected the wisps and did all the things to unlock the second door in the Lighthouse, forever booboo the fool, thinking I would get some juicy content or something. Trying to stay positive.

No. NO. I got some gear, another empty room Rook has no comments on, and fine, some of Solas' observations on the anchor. It does seem to confirm he kept the Inquisitor’s arm aaaand I love him your honour.

Back to backflipping and shooting arrows in the air, and wanting to grab Emmrich by the beautiful lapels to shake him and ask about the Pentaghast family. Where's my WIFE --

On to the Weisshaupt mission, which was actually ridiculously fun to play - until I was told Weisshaupt is gone haha wow great love that at least the Inquisitor & gang are keeping Southern Thedas safe *subtle foreshadowing* 😃🤞 weeee

I was SO MAD at myself for expecting more like the clown that I am, it was something dumb but just annoyed me all over again and got me all… opinionated 🫠

So, I'm mad again. I cannot begin to articulate my feelings about the incredible amount of storylines and lore we've lost with the decisions made in DATV's writing - they've already been written so eloquently by much greater minds than myself. SO I'm just laughing my way through the pain 🤡

People pleaser that I am, I see other creators I've followed and loved for ages defend the game's choices, tell others they lack media literacy, that your criticisms mean you have rose tinted glasses about the previous games - whatever, your opinion can be valid without tearing others down. So, I genuinely thought something was wrong with me for being so hung up on details. But I can't even engage in fan theories anymore because I'm so jaded at this point. When I see new deep dives into lore-based theories on the game, 99% of the time my mind goes "There is no deeper meaning. They just wanted to wrap it up." Why do you think this thing happened? What do you think that thing is hinting? Nothing. And this is coming from someone who played all the games, owns all the novels, art books, World of Thedas I and II, the bloody Inquisitor lamp from the BioWare store LOL, I was primed and ready to engage in these conversations, but I can't. I have nothing to say that won't end in a cynical answer, and maybe that's because I'm also jaded by working in the game-adjacent VFX industry.

The factions are, yet again, fun but shallow, the logic confusing, and lack much of a backstory for Rook (I think Grey Wardens and Mourn Watchers seem to be the best developed from other reviews and playthroughs, I've only played extensively as a Shadow Dragon, to be fair). Why are you a mage in this one faction? Why are you a rogue in another when it doesn't make sense without a story to support it? It's all this beautiful candy floss that melts away the minute I stop and think about it. And then the cynic in me thinks - these are probably vestiges of the live service part of the game that EA was pushing for. I have to slap myself and stop looking for deeper meaning within corporate decisionsssss there is no swimming pool behind that closed door you needed 7 wisps for 😃

I desperately did not want this to be the case. I was hyped. I preordered the game and organized vacation around it, I'm too old and dealing with way too many crappy personal things to just be a hater for the sake of being a hater. Gaming and Dragon Age are my comfort spaces. But for the LIFE of me, I can't imagine playing DATV again once I finish, let alone more times than I can count like the previous games. Or imagine listening to 4 hours of Youtube videos of party banter to analyze, or even imagine how companions would react to certain things because they feel so stiff. Everything is beautiful, but sterile.

I do love Emmrich - I'm enjoying his storyline and romance, it's like the loveliest most whimsical Vincent Price Pixar romance, but still, something is always missing with the characters even as some do grow on me. I can't imagine anything close to just the party banter ALONE between Solas and Iron Bull. Cole. Fenris and Anders. And to be clear - the whole DA was GRITTY and DARK, DAO supremacy - NOT ME. I love all the games but they have always been whimsical and silly, cringey at times, and did not take themselves seriously. I remember doing the quest where Hawke is running around trying to keep Aveline's date with Donnic from going south, cracking up at how ridiculous it was, and just thinking - gods I LOVE this game.

Speaking of romance, while I'm enjoying how sweet the romance with Emmrich is, when I see others complaining about lack of spice... ahem. I still cannot get over the art style when it comes to characters. This is subjective, and a me problem - I still find it jarring. I don't like the proportions, the bloom, how smooth everyone looks. They still mostly look like cartoons to me, with no body hair and the big heads, and I find everyone's hands so distracting because they look like plasticine. I'm ok with no spice between these characters with their current designs lol let me leave it at that. Ok, except for Felassan and Solas, chef's kiss, no notes.

Solas and story elements directly around him still mostly hold the familiar weight, for the most part. I think credit goes to his amazing VA and the strength of what was likely written for his arc from the very start, before the rewrites and dev hell the game went through. I still have opinions, obviously, but even as a ride or die Solavellan I don't like having the Solavellan angle hijack conversations, so I'm not going to go there. If I'm going to criticize stuff I'll do it as a gamer/DA fan first, egg lover and apologist second.

As I reach the end of Act 2, the game continues to makes me feel like I'm stripped of all agency after a lifetime of playing choice-based games. I talk to companions when it allows me to, then they are relegated to set dressing. My conversation choices all feel the same, or don't match what I'm choosing sometimes. The Lighthouse does not feel like the vibrant hub it was sold as. I am on quests I mostly cannot accept or reject. I cannot interact with my surroundings unless it is gameified (light a candle, move a crystal). The companions abilities are all just - platforming? I know I sound hyperbolic, but it's all I can see currently.

I played Persona 5 from end to end, twice. I played FFXVI. I loved both, had no issues with their linear storytelling, and how the game led you to their end points. Those games are not DA, they did not have the expectations you would have from a BioWare title 10 years in the making. You were not lured in by tales of an incredible character creator, teased about what might be coming from previous games, told this was a sequel to an immersive fantasy RPG series in a beloved fantasy world where the defining studio mechanic was CHOICES MATTER, even when they changed a lot of other things from title to title. In P5/FFXVI you were Clive, you were Joker, you were playing out their story. They were not direct sequels to anything. I'm loathe to be seen as a mindless critic who just wants to shit on things, but a part of me does feel emotionally manipulated for $$$. I still resent how much hype was built for the game by maligning the previous ones (we're fixing Inquisition's mistakes!!).

I'm back to my mission of finishing the game I paid for, enjoy what I can, and get my Solavellan ending scene cause I'm down BAD for literally the only ship I have ever shipped🧍🏻‍♀️I appreciate that it was included. But also - wow does it exacerbate what wasn't included for everyone else's choices.

Something I hate is how everyone immediately jumped on the Baldur's Gate 3 comparisons - BG3 was a life changing game for me, but it's not perfect, and the comparisons are not fair. The one thing I will say is that when I first played BG3, despite its issues and the later criticisms of how Larian reacted to pressure from fans, I remember my earliest impression was - it feels good to be respected as a player. I didn't feel the game was talking down to me, and I got SO much for what I paid for (700 hours baybeee). Jaheira and Minsc were included as companions in homage to the previous games. Yes, they did Viconia dirty, nothing is perfect - but for example, Jaheira would tell you about her husband Khalid from the original games, which came out in 1998 and 2000. There was a lot of world building/easter eggs that not everyone was familiar with or even noticed, because not every player played BG1 and 2, or were familiar with DND 5e - but it was included. Drizzt Do’urden was mentioned ffs, they didn’t overthink about who read those books or not. I’m aware of my biases and I may very well be looking through rose tinted glasses, but I did not feel like the information was presented like I was dumb, or "ah they'll never understand this - SCRAP IT". It just feels like it’s there to honour the past and out of love for the world Larian were playing in.

—> edit to say that I do notice and enjoy the codex entries, callbacks to Tevinter Nights, Masked Empire, the older games. I wish that care and detail was woven into the main story and overall end product and not just background fluff. I know others are satisfied with those additions, wish that were me. I saw a tweet saying that every callback to a previous game or storyline actually pissed them off even more lol, I relate.

I don't feel that respect for the player in DATV, I'm sorry. There is love there, but as hard as I try, it feels like it's there despite of the overall design of the game, not part of it. I keep remembering interviews before the game was released and things that were promised, and I don't see it. At all. No more meaningless fetch quests!! Most companion-focused game! The quests are largely boring or formulaic, but addictive and fun because they are so packed with mindless combat that my brain enjoys. Sometimes it feels like filler - we didn't know what to add here, FIGHT! You unlocked a poignantly named gate in the Crossroads? NO STORY MORE FIGHT! And I'm eating it up, let me not be a hypocrite, I have 80 hours in the game. But personally, it feels designed to pad out this beautiful, sometimes fun, but bitterly shallow game. I can't even go into companion specifics because I have nothing to say, no story I want to analyze. Some have grown on me, but there is no bite or nuance to the writing that compels me and I have no urge to know more. In the previous DA games I would take the long route wherever I went just to get more banter from my companions, and I was instantly interested in them, even if I disliked them. I've seen the comments, I tried, I don't think it's because "I haven't spent enough time" with the DATV companions.

The level design of long narrow corridors, which do remind me of DA2 and FFXVI, has become so predictable to me that I almost always know exactly where I'm going to find loot. So it becomes this admittedly satisfying run of grabbing and fighting to the end point, getting the dopamine hits of collecting pointless stuff, but not really taking in the environments and enjoying the adventure. The level design is not immersive. These do not feel like real cities or real people, and that was intentional. It feels like “levels”, not a World. No one reacts to a single thing you do. Even in the ultra minimalist style of Zelda BOTW, townspeople would react to things you did. Sometimes I walk up to yet another obvious fight arena where the enemies are just chilling, waiting for me while standing still - almost like they're on shift at a haunted house LOL. I can imagine the Venatori stubbing out a cigarette, "C'mon guys, she's here, showtime". The funny part is this has all been seen before in older games, and it never bothered me. My own expectations and overhype might be to blame, but it feels like a big step back when so many games are stepping forward. Me = clown

I keep going back to my first reaction when the disappointment hit me. It feels like being given Persona 5 Strikers or Hyrule Warriors, and told that it's the sequel to the actual RPG. It's fun, it wears the skin of the thing you like that makes you happy, but stops there.

Other things I shake my fist at

Cheap ass The 6th Sense ass Varric death. Yes, yes, Solas villain arc whatever - it was cheap. Way to honour a multi-game beloved character and the player, even if the time had come for him to die in the story.

No, I cannot find a single redeeming reaction from a companion that makes Varric dying make sense in hindsight, except that they are all made of cardboard. I saw comments saying on a second playthrough it's clear Harding is in mourning - sorry, I don't see it.

So. Dorian, the Inquisitor, Charter, Harding, your party, Maevaris, Isabella, list goes on - not a single one of them asks about Varric or mentions his death? Expresses condolences? Nothing? Cheap. Even if Solas was playing with your mind, doesn't it make the overall characters in the game seem even more wooden and unrealistic to the player? It was not the gotcha they seem to think it is.

When the novelty of the cameos and the emotion associated wore off, they were just flat and felt random. Cassandra should have been there, doing Seeker shit (my WIFE). Ok no cameo? Casual dialogue with Emmrich about having a Nevarran in the Inquisition (or as the Divine?!) Lucanis info dumping about Josephine as an Antivan, Zevran as a Crow, nvm, time for a coffee joke. Merrill, eluvian queen, how is she a nonentity? Habibi Fenris should have been in the Shadow Dragons, spitting on the ground after being approached by Solas to join his uprising (lol what uprising amirite). Ok I'm cooking hire me Bioware 🍳 but at least they can remain untainted by the Isabella Treatment (tm)

This leads into the yeeting of the Keep, world states, choices, and hypocrisy around claiming to want to level the playing field for new players. No, all I can see is - it was treated as a buffet that they picked from as it suited. This is the one disappointment I will never let go of. Facsimile's of beloved character cameos were tossed in, you could not really talk to them outside of what limited dialogue you were allowed. Certain world states are now canon apparently - Dorian being recruited in the Inquisition, Morrigan drinking from the Well etc. You want a reboot and you've committed to tossing the choices and burning down Thedas (literally)? Go down with GLORY! Have all the previous main characters/companions alive. Have them all mentioned, even in passing. A portrait on a wall. Say goodbye to them, get your reboot. Honour what you built your business on. But yeah, Emmrich and Harding get to have their picnic in Fereldan fml bye

The argument of: well, the games are old now, it shouldn't matter. Ah - not too old to capitalize on the IP and DA name? Not too old to use some cameos to lure old players? The argument of - it was too many choices to track. Ok cut them down, but don't go scorched earth? 3 choices, mostly irrelevant to those who don't care about Solas (could never be me), and then literally telling you everything else in the South and Weisshaupt is now razed to the ground. But also the illuminati did everything.

FINALLY - the Inquisition should have been in charge of the hunt for Solas, hill I will die on. Fine, have Rook, but Inquisitor should have been the other protagonist. The people... who knew Solas best and betrayed by him... who were in an organization to save the world... Why did we have that cunty dagger stabbed into the map of Tevinter cliffhanger to have the Inquisitor reduced to a pyjama wearing husk BIOWAAAAAAAARE

It's this stuff that builds up, and makes me think - does this game hate its fanbase and source material that much? I very obviously need to go touch some grass 🤠

I keep engaging with Reddit, Tumblr, Twitter - all to my detriment because it makes me feel like there's something wrong with me for not loving it, all over again. I also desperately have a fic in me I would love to write, an ode to the story in my head from years of loving the world of Thedas, a love letter to my Lavellan and others - but idk what to do with the post-DATV world atp. I just want to get through Act 2/3, get my Solavellan smooch, ignore the ~secret Illuminati ending, and be grateful I'm not a Mass Effect fan so I don't have to go through this again 🐣

[dawnisdreamlanding]

CHAPTER 2

Ghost x Reader x Konig

Neighbor! and Roommate!au hehe

About me | Masterlist |

Author's note: Happy Hanukkah! I'd like to say THANKS SO MUCH FOR THE SUPPORT FOR THE FIRST PART AAAA!! I've been wanting to write fanfics for agess but I was always too nervous to hahahdsf so all the support means so much to me, especially for it being my first fic. But less talk, more story, I hope you enjoy part 2! <3

‘Why am I meeting so many tall, buff guys today? Well, not that I’m complaining,’ you chuckle inwardly. Konig’s so tall that when he greets you, he bends down slightly. Talk about being short. You mentally shake that thought away before smiling and telling him to follow you to your apartment.

Everything goes smoothly, and he ends up moving into your apartment the following week. It takes him a couple of days and a little head-banging on the door frame due to his height for him to get used to your shared apartment.

It’s been a month since then. You learn he’s from Austria, and he starts to call you ‘Maus’ which was self-explanatory. But you never really learned anything else other than that. So, to recap, both your neighbor and roommate are both silent and secretive. And they’re hot. You quickly shake that thought away. You shouldn’t be thinking about them like that!

Speaking of Simon, you haven’t seen him for a couple of days. You wonder what he’s doing. After a few extra moments of silence, you realized you’ve spaced out from doing your work. Your gaze lands on the long list of emails you’ll be needing to respond to by tonight, followed by the time on your computer on the bottom right of the screen. ‘7.43 pm’. Ugh, this looks like you’ll be staying back late in the office tonight.

It’s already been a few hours since the last of your coworkers said goodbye to you, and the office lights has been turned off except for your section of the office. The darkness surrounding the office was a little unsettling if you were being honest, but you pressed on with answering those emails. Your phone buzzing makes you jump in your seat and the bright screen in contrast to the surroundings makes you squint a little.

Oh, Konig’s calling. You pick up the call and you’d be lying if you said you weren’t relieved to hear someone’s voice after hours of overtime. The line’s a little staticky, but his voice comes through the phone. “Hello, Maus? Where are you?” Konig sounds worried. “Hey Konig!” You try to sound a little upbeat, but your exhaustion comes through nonetheless. “I’m working overtime tonight; I’ll be coming home late.”

Home. You don’t know when you started referring to your apartment as ‘home’, since you’ve always thought your apartment felt so soulless since you moved in. If you think hard about it, the emptiness of your apartment only ever seemed to disappear when Konig’s large frame started to fill in the empty space in your apartment. Despite not knowing much about Konig’s life, the two of you spend quality time together, bonding over shows on Netflix ranging from ‘The Good Place’ to ‘Emily In Paris’. Though you’d have to admit, the more mind-numbing the show is, the more entertaining it is when you hear all Konig’s quips and comments while the two of you watch it. God, you wish you were hanging out at home with Konig now.

“Maus?” Konig calls me once again, snapping me out of my train of thought. “H-huh? Sorry could you repeat that?” I reply. “It’s looks like its about to rain hard tonight, do you need me to bring you home?” his voice gets a little more staticky by the second, and you’re only able to get out a “it’s fine” before the power in the office shuts down.

“Oh hell no,” you say out loud to yourself. You watched enough horror game playthroughs to know that you’re not staying a second longer in office if you want to see another day. Your line gets cut off and you groan. If this isn’t the start of a horror movie.

You managed to exit the office without tripping in the darkness with being little on edge. Little droplets of rain start to fall to the ground, slowly painting the pavement a darker shade of grey with each drop. Your line comes back and you were seconds away from calling Konig to ask him to drive you back home but then a hulking figure leaving the nearby grocery store enters your field of vision.

You are quick to look at this guy because who the hell is he and why is he dressed in all black at night, looking like a robber? Oh my god is he a robber? Oh, it’s your neighbor, Simon. You should really stop bumping into him in such shady situations.

---

Simon ends up driving you back to your apartment complex. This time around, you try to talk to him the car ride there. In between the awkward silences, the two of you managed to bond over some shared bands playing on the radio and you learn that he’s from the military.

“’s not fair that they’re makin you work overtime like this.” Simon grumbles out. “Yeah well, what can I do? Besides, they pay me quite well.” You reply. It was true; the company you worked is quite taxing at times, but the benefits and pay holds you back from quitting.

“Well,” he inhales as he puts his car into park. “If you ever need a lift home, just let me know.” His offer puts a smile on your lips. For someone who you’ve gotten to really know in the span of a 20 minute car ride, he has a heart of gold. “Thanks, I’ll keep it in mind.”

He has the manners to walk you back all the way to your apartment — you ignore the fact he lives literally right next to you — and makes sure you enter your apartment safely before unlocking his own door.

 You sigh and drop your bag onto the floor. Your eyelids feel really dry and the constant urge to get some shut eye makes the tasks of getting ready for bed seem to stretch on for far too long. Part of you debates on sacrificing dinner so you can sleep a little earlier but that’s when you hear Konig call out for you in the kitchen.

“Eat.” He speaks. “I cooked dinner for the both of us, but I didn’t know you were staying in the office.” A slight pang of guilt shoots through you at the thought of Konig waiting alone at the dinner table for you to come home. “Thanks, Konig.” I smile at him. “I’m glad to be home.”

Konig tries to ignore the warmth that creeps up on him during moments like these. His eyes naturally drink in the sight of you sitting across the table, happily munching on the food he’s cooked you. Fuck, maybe being a househusband wouldn’t be so bad, especially if its for you. He quickly shakes off that thought. He kills. He likes to kill. What was he even thinking?

“Emily in Paris?” he suggests when you finish your dinner. You sigh and shake your head. “Sorry, too tired, Ko.” The nickname slips out of your mouth so easily that you don’t notice it, but he does. His body freezes up and his brain short circuits. He’s so focused on the nickname you used for him that he doesn’t even feel sadness when you rejected his suggestion. He hums in acknowledgement.

“Maybe this weekend?” You say and he nods, watching you turn to head into your room. He decides not to tell you he’s leaving for work that weekend. Leaving to kill people. “Next weekend.” He confirms. You smile tiredly at him and the warm yellow light illuminates your features. “Goodnight, Konig.” God, he wishes you could call him Ko again. “Goodnight, Maus.”

Taglist! @gojo-mochi

[onestepbackwards]

Y'know, I'm curious. I know you've been doing a lot of self aware Pokémon HCs, so something I wanna know is if you've ever done Self Aware N before. This isn't a request by any means, but just being curious if you've ever written our beloved christmas tree being self aware at all.

N: So... you're telling me that on top of my entire life being a lie in regards to my father and his team's beliefs, it's also completely fake and my entire purpose in this sick game is to entertain you? Is that it?

Player: ...Yeah pretty much, but I love you💕

N: ...

N: Well shit. If the almighty says they love me, who am I not to love them back?

Poor boy would be CLINGING to the only "real" person in his life after that

N would be such an interesting character to be self aware! I dont think I’ve written him self aware?? But 👀

He’s already dealing with so much, so suddenly being snapped to self awareness, or slowly becoming aware, are things that could be quite a shock for him.

Whether he knows right away when you start a new game, or becomes so over a playthrough, its such an interesting thing.

Imagine he goes through everything in the story of Black and White

How he grows and learns, and how his relationship with the player character evilves until the end.

And then he wakes up. He’s in the castle again, and Ghestsis is back, as if nothing happened.

He tries to shake it off as some dream, only for his fears to almost choke him when he sees the player character again ‘for the first time.’

But he notices something. How their face is blank. Eyes empty.

He tries to ask what’s going on, but his feet are walking for him, and suddenly words are pouring from his mouth. Familiar words he said on his own last time. Now they feel forced from his throat.

And then he’s in a battle.

This time though, something is different.

Their pokemon are different. A different level, maybe a different gender, maybe a whole new team.

He fights, but his attention is elsewhere. He swears he sees something flicker behind Them. For a split moment, he swears he sees a screen, and a face.

“Ah… I hope I’m not too under-leveled for this challenge. I should have leveled up a bit more…”

He thinks that Hilbert/Hilda is speaking, but their mouth never moves. Its as if its coming from around him.

“Oh well. It will at least be a challenge this time! Battling N is always a treat.”

N feels sick. His hands are sweaty, and his pokemon, his friends, are so oddly quiet.

The battle is over in what feels like seconds. Before he can even ask what’s going ok, his feet are moving, and he’s talking once more.

Words he’s already spoken fall from his lips. No matter how he tries to stop them, he can’t.

He doesn’t believe this anymore! Why is this happening? Why can’t he stop? Move! Move. Move…!

And then he does. His feet move on their own, all the way back home. He can finally breathe again, but at what cost?

Until he figures out what is going on, he’s trapped in his own personal nightmare. Especially when Ghetsis swings by, acting so sickeningly sweet. His honey laced words that are secretly coated with venom.

How the lies fall from Ghetsis’ lips so easy, and N wonders how he fell for them in the first place.

But he can’t react. Not until he knows what’s going on.

But he does make one vital connection.

You.

Hilbert/Hilda.

Whoever, or whatever they are. He always ends up being forced back to them against his will. Forced to speak the lies he once believed.

And he hears Them. The voice. It always comes back, making commentary.

Yes… whatever madness is happening, they are the key, he is sure of it.

He may not believe it is a god at first, but if you do more playthroughs, he might be inclined to start doing so.

What else could rewind time, and make a new timeline for fun? Forcing people to forget, and relive it, just a little differently each time?

But you are always positive about him, despite the things he’d done. The things he’s being force to relive again and again.

Maybe you’re not as wicked as one might think when trapped in this madness. You don’t even seem aware he’s being forced to relive this.

Perhaps to you, you don’t believe anyone remembers? Is he just an anomaly?

What about Hilbert/Hilda? You seem to control them. He no longer sees them as the teenagers who were eager to oppose him.

They are just empty vessels for you. Something he doesn’t think he would have noticed naturally.

Its like theres a fog in his head. He thinks he remembers the teenager being so… animated. Alive.

But thinking on it? They never were.

They are just a puppet, and no one but him notices.

It’s scary. But he doesn’t think you realize this completely either. Despite this horror, you don’t seem malicious. In fact, you even seem enraged and annoyed on his behalf every time you meet.

He doesn’t understand it. Not yet. But he vows to figure it out.

[barbwritesstuff]

Is Gaius named after emperor Caligula by any chance?

No.

Ancient Roman names are confusing. I'm not going to dive too deeply into it (because I don't fully understand it), but the Romans usually had three names. Eg. Gaius Julius Caesar.

The first name was called a praenomen and was an intimate name usually used only by close friends or family.

Which is why we usually just say: Julius Caesar.

The second name is a nomen which is typically a family name. The third name is a cognomen, which is kinda like a nickname that most people used to get by day to day.

In Blood Moon, when Gaius was first introduced, I wanted Gaius and Lucius to use praenomans when speaking to each other (because brothers), and Gaius gave the wolves permission to use his given name too, which was a) for ease of readership and b) because he's weird and deranged and wanted the wolves to talk to him as if they were close friends.

Now, according to Wikipedia:

By the first century BC, the praenomina remaining in general use at Rome were: Appius, Aulus, Caeso, Decimus, Gaius, Gnaeus, Lucius, Mamercus, Manius, Marcus, Numerius, Publius, Quintus, Servius, Sextus, Spurius, Titus, and Tiberius.

There are only 18 choices.

I couldn't use Marcus (because Marco was already a character in the story and that might be confusing) but I also wanted names that wouldn't throw modern readers too much, which excluded a lot on this list. Remember, I wasn't planning a sequel at this stage. These were originally just going to be characters that appeared once in one playthrough.

Quick, easy to remember names were key, especially as the court was going to be chock full of various new vampire characters.

(This is also why I used the name 'Medici' in this scene. Quick, easy to remember, and some worrying implications for those that might know a bit about history).

So I picked Gaius and Lucius for the vampire brother kings.

Gaius Dominus (no noman because he has no real Roman family) and Lucius Hostus Dentatus.

Cartoon bad guy names, but they're vampires, so they get a pass.

When I started writing Thicker Than I tried REALLY hard to make Gaius go by his other name/title, Dominus. But my brain wasn't doing great when it came to renaming him, so he's still just Gaius.

Eventually I also gave him a second cognomen (Caesar) because that literally just means king and it makes sense he'd have it.

I can't believe I lay in bed for 15 minutes typing this out on my phone. 😅 I hope it's not too long or boring.

[rutilation]

I sincerely doubt I'm the first person to have noticed this, but I'm currently riding the high of having just connected some dots, so I'm going to jot down my thought process regardless.

Because I am the sort of person who reads dictionaries for fun, one of the first things I did after being introduced to this game last month was look into the etymologies of various characters’ names. We play as an android named magpie?  What a cute little reference to our gameplay loop of exploring and picking up stuff.  We’re looking for a girl named Alina Ariane?  That’s pretty juicy as well.  Ariane, and variations thereupon, are derived from the Greek Ariadne, which is the name of the woman who lead Theseus through the labyrinth with her ball of yarn—a fitting metaphor for Ariane’s role as the beacon guiding Elster through this surreal narrative.

Anyway, a little while ago, I found myself watching this playthrough of the game, and it was quite helpful because the person playing can read Chinese, and I myself am pretty helpless when it comes to characters that I can’t easily copy-paste into a dictionary.  Leng means 'cold,' you say?  Well, I'm happy to finally learn that!  A ways into the playthrough, she points out that one of the hanzi in the red desert sequence is likely to be Ariane’s last name.  Intrigued, I looked it up, and found out it means poplar.

That made me wonder if there was some rationale behind choosing that surname in particular.  After all, if the first half of Ariane's name was so obviously symbolic, why wouldn’t the second half also be so?  I ask myself: what do trees have to do with her?  My brain answers: “Die Toteninsel, obviously.”

The trees in that painting are cypress, though.  I start wondering: okay, if you’re going to name this character after a tree, why not name her after the tree that holds significance to the story—to her story?  Moreover, what do poplars even look like? I’m not an arborist…

They’re not cypress, but what I saw in google images looked like they could be mistaken for them at a distance. Their lenticular shape, at least, was reminiscent of the trees in Die Toteninsel. A new hypothesis starts germinating in my head at this point. Suppose the hanzi for ‘cypress,’ whatever that may be, isn’t in use as a surname.  If so, perhaps the devs had to work their way down the line, and pick out a tree that they could use as a last name, one that at least looked like the tree they had in mind, so that they could still evoke the image of the painting through Ariane’s name.

Obviously, I had to return to my precious dictionaries, and test this hypothesis.  It failed immediately.  柏 means cypress, and it is indeed used as a surname.  Now back to square one, my initial question becomes even more pressing.  Why did the devs name Ariane ‘poplar’ instead of ‘cypress?’  If the more meaningful option was already right there in front of them, why didn't they take it?

It was at this point my brain cells finally deigned to rub together, and the answer smacked me across the face.  There’s another painting I hadn’t been taking into account, and I’d already seen the shape and form of a poplar, even before I pulled up my search results.

The tall green trees on the left side of the Die Lebensinsel are unmistakably poplars.  My earlier observation that poplars and cypresses had similar silhouettes possibly had some merit after all—that may have been what was going through Böcklin’s mind as he worked on this painting which was the intentional antithesis to Die Toteninsel.

(I say “unmistakably,” but, again, I’m no arborist.  While some cursory googling didn’t reveal a gloss for the flora in this painting, someone on r/whatisthisplant also thought that these seem to be poplars, for what it’s worth.)

So, Ariane is named not after the isle of the dead, but the isle of life.  My reward for answering my initial question is, of course, more questions.  Why have Ariane’s name hearken to this painting? I haven't figured that out, but I do think that in order to answer that question, one first has to ask what Die Lebensinsel means to Signalis in the first place, and my thoughts are a little more substantial in that regard.  Substantial, but also pretty subjective. Everything prior to this point is trivia dug up by a dictionary-enjoyer, and everything past this point is me free-associating my way through confusing imagery, like our overlord, the big red eye, intended.

As for me, I associate Die Lebensinsel with the artifact ending.  Not so much because of how happy it is per se, (highly debatable,) but because of how both the ending and the painting are obfuscated by the game.  In Signalis, you can't get away from the other two paintings.  They dominate the red desert sequence, they're found decorating the occasional wall in overworld, and you even walk across the shore of oblivion yourself.  Die Lebensinsel, on the other hand, is never as tangible as the other two, only ever flitting across the screen for a single frame at a time.  It's almost completely imperceptible in the moment; you have to already know to look for it to glimpse it, or else discover it by playing back the red desert cutscene frame-by-frame.  All this mirrors how the artifact ending is integrated into the story. The keys to it are right in your face—the safe, the code, a strange signal on your radio, the lilies interspersed throughout game—but it's nigh impossible to grasp any of those things without hindsight, without picking it apart after the fact. You have to really look to find Die Lebensinsel, and you have to really look to find the artifact ending.

There’s also the subject matter of the paintings to consider.  Die Toteninsel depicts a psychopomp ferrying a soul to the eponymous isle of the dead, and the story of Signlais is about trying help Ariane die, with the normal endings representing all the ways Elster succeeds and fails in doing so.  In the artifact ending, however, we are not trying to put anyone out of their misery.  We’re beseeching the King in Yellow, or the Almighty Red Hexagon, or the Music of the Universe, or whoever the fuck, to grant us our own little pocket-dream-dimension where we never have to die and can dance with our wife forever, amidst the decay of a solar system which has just contracted cancer.  We’ve already cast off from the shore of oblivion by this point, but the island we’ve landed on in this ending can’t really be considered the isle of the dead. We're dancing, after all, so this must be the isle of life.

This interpretation of Die Lebensinsel having crystallized in my mind, I circled back around to my most recent question: why is Ariane named after the artifact ending?  I still wasn’t sure.  But, as I ruminated on it, I realized that you can also draw a direct line from Elster’s name to the artifact ending.  After all, Elster=Lilith, and Lilith=lilies, and lilies=the artifact ending. 

To surmise, my question has gone from “Why is Ariane named after poplar?” to "Why isn't Ariane named after cypress?" to “Why is Ariane named after Die Lebensinsel?” to “Why is Ariane named after the artifact ending?” to “Why are Elster and Ariane both named after the artifact ending?”  What could it all mean?  Maybe in a few weeks/months/years, I’ll come upon an answer I’m satisfied with.