#it makes sense why all of this happened

[discountsoysauce]

Yeah no I agree there. I also think that Ros' closeness with Aimsey, while yes he was just using it to get to Ros, did kind of genuinely irritate him. There are three times I can think of that Ros has taken Aimsey's side over Owen's. Two of which occurred when Owen interrogated Aimsey about the bell being stolen and antagonized them, leading to him almost being sniped to death once and then ambushed by Aimsey and Callum and almost being killed again, both of which he told Ros about which ended in her asking him to apologize to Aimsey.

But honestly I don't think that situation was even that upsetting to Owen, he may have even been aiming for it.

Something that I do think genuinely caught him off guard was a small thing that happened before the gladiator match. Clownpierce wanted a spyglass, so Owen loaned his. When he asked Clown for it back, he said he'd given it to Ros, and when he asked Ros, she said she gave it to Aimsey. He asked if she could ask for it back, and I don't remember if Aimsey told her no or if she just never asked, but instead of insisting on getting it back, she took Owen on a trip back to the castle to get a new one. I think that small moment is what solidified the idea that Ros would choose Aimsey over him every time, and being someone that Aimsey was at odds with put him in a difficult position with the Kingdom bc of Ros' authority.

you know what just occurred to me

idk if anyone remembers this. but. right before the pre-duel party (42:00 minutes in on ros' vod "the duel and the deal" on her vod channel), owen was lightheartedly making fun of ros, and ros made a joke about her firing him

then ros got distracted when clown arrived, but owen kept asking her if she had meant what she said, and she pretended that she was serious and it got tense between them, before she revealed it was a joke and owen (seemingly) laughed it off

but i feel like... THAT moment, that tiny little throwaway moment, is what solidified it in owen's mind to drive her out of the kingdom.

i feel like owen realized in that moment, even if ros was joking, that she COULD do that. she's above him in the kingdom hierarchy; she's the second in command, the queen regent when foolish had died. barring that, foolish trusts ros possibly the most out of everyone in the kingdom. if SHE didnt fire owen, she could surely convince foolish to do it.

i feel like that moment was the moment owen realized just how much of a threat ros' authority over him and the kingdom was. the moment he realized he had to cut her off before she could ruin his plans. that little joke was the first domino in the events that would happen next.

[forgettable-au]

END OF CHAPTER ONE

FORGETTABLE-AU (Page 65-72)

* Time to put this puzzle together.

[BEGINNING] [PREVIOUS] [CONTINUE]

[blondeaxolotl]

"They don't bite-" BRO YES THEY DO 😭😭😭

[merverelli]

"you just feel yourself let go."

still thinking about this episode. man. 💪💥

[thedreadvampy]

Losing my shit about this article in which a transphobic Tory was so busy panicking about existing in the vicinity of a Trans that she almost certainly misheard "jeans" as "penis" and decided that not only was this a problem with the other woman, but also that the world must be informed of this pressing danger.

"a trans woman! I had to stand directly behind her....I thought, 'this is going well', I'm handling The Situation fine'..."

translated: I saw a tall woman with broad shoulders. How would I get out of this alive? I thought. she has a PENIS. PENIS PENIS PENIS. through some force of PENIS I mean will I managed to PENIS behave normally towards her. My hands were PENIS PENIS PENIS shaking as I tried to dry them. summoning up all my PENIS courage I said 'dryer's crap innit'. she turned to me and said " yeah I'm just goiPENIS PENIS PENIS"

It's been a week and I'm still shaking. This proves trans women are the problem and I'm not weird. I'm fine. It's fine. If you think about it I'm the hero hePENIS!!!!!

very this

[deathon1leg]

so many st viewers are like mike is EVIL i want this boy DEAD and he’s literally just a teenager dealing with internalized homophobia in the 80s

[lizzybeeee]

DATV explaining the 'Regret Prison'

A REGRET PRISON IS STUPID AND I'M TIRED OF PRETENDING THAT ITS NOT

TL;DR: a prison can serve as a metaphor but it shouldn't be entirely comprised of a metaphor.

From what I understood from what the game gave us: Solas has made a new prison to move the God's too - since bringing down the veil would free them from the Black City. This new prison is separate(?) from the fade or so far removed/contained that bringing down the veil would not compromise it...apparently. We interrupt his ritual, Solas gets sucked into the new prison he made, and the elven gods are free.

When Rook gets kicked into the fade they're physically there - which means it's a physical place in the fade, like how it was a mixture of physical/thought when we entered it in DAI. Which makes sense - the gods are real and living beings, they need to be in a place, there must be some aspect of physicality to it.

Alright, cool, it's a Black City 2.0 - I assume it's better defended to prevent people breaking in/out again?

NOPE.

We get there and it's a 'regret prison'?? It's tied to the regrets of those within it? Composed of regrets??? Solas had to wait for the right moment for Rook to be sufficiently 'full of regret' that they could switch places?

So is the prison tied to Solas's regrets? If so, how can Rook escape? The prison seems to work around the idea that it relies on the regrets of the person it's holding to work - which is how/why Rook was able to be trapped and later free themselves (along with whatever remains of the team apparently being able to do something on their end, not that we hear about it).

WHICH IS STUPID!

Are you telling me the prison intended to hold to megalomaniac elven gods was going to imprison them based on their own regrets? Is Solas assuming that Elgar'nan and Ghilan'nain are as self-pitying as he is? They'd break out quicker than Rook did! He made a time out corner for the elven gods to sit in and gave them an out if they reflected on their emotions/regrets or decided that they don't regret what they did. Elgar'nan, a spirit of tyranny, is not going to 'regret' his actions - he is going to justify them by telling himself and others that he knows what's best.

We can come across some of Solas's regrets in the prison if you run around a bit and explore:

Remnant of Failure - talking about the orb from Inquisition.

Remnant of Parting - talking about Mythal

Remnant of Reflection - more vague, talking about the Titans I believe.

So maybe he altered it - maybe he intended the prison to be 'locked' with his own regrets because after a millennia of having a pity party he still can't bring himself to self-reflect and look to the future. But what if Solas died? Or if his guilt lessened - would it diminish the strength of the regret prison?

We already have pre-established lore (though DATV has shown they don't really give a crap tbh) that once the being that has claimed/altered an area of the fade is slain, it's influence diminishes both in and outside of the fade. So if the prison was tied to his regrets then it would require Solas to basically live forever to keep it stable - especially if he brought down the veil and removed the one barrier that kept the world and the fade apart.

Rook and Solas needed some assistance to exit - but it doesn't seem like it was much! Solas used his dagger and Rook just...got out through a fade tear? This is Solas's 'more secure' second prison? It has a worse track record than the Black City! If Rook - who is not an elven god - managed to escape the regret prison what is to stop anyone else from breaking in and out of the prison?

And what did Solas intend to do with the blight - the bulk of which is apparently in the black city?? If bringing down the Veil would free the gods in the black city doesn't that mean that the blight would also be released?! Did he have a plan? Why does he go fully ahead with bringing down the veil at the end if the black city is still there and filled with blight?!

I get it: the 'regret prison' is a metaphor for how Solas holds onto the past and how Rook can move past their regrets and grow. He's trapped by the past - it's a prison. Cool. But this prison is supposed to by a physical place to contain the gods - not just to solely contain Solas. The mission is literally called 'A Cage for Gods'.

The Black City is an actual place that's so far out of reach of anywhere else in the fade that no mage can ever reach it while in dreams - let alone physically, which was only done once and took tremendous effort/blood sacrifices. It made sense - it was cool to see floating in the sky in DAO!

Though it's not said specifically, it's strongly implied that Arlathan is the Black City. You can see in the concept art that floating elven city is exactly the same as the black city in DAO! It's this foreboding thing just lurking in the sky - a constant reminder of the sin that led to the horrors of the blights and darkspawn. A real place with lore and history that also serves as a metaphor for the hubris and destruction of those who call themselves gods and act as tyrants -> for both the evanuris and the magisters.

I WANT TO UNDERSTAND THIS BIOWARE!

WHAT IS THIS KINGDOM HEARTS NONSENSE???!!

[bunnieswithknives]

how we feelin about tincrow

I hate gay people

[meamiki]

mira !!! :]

[sysig]

Ah, childhood memories (Patreon)

[lesbians4armand]

once again i really do think armand’s morality and view of his own morality is summed up by “i tried to be good, am i no good?” because he KNOWS he’s not, but he so desperately wants to be good in any way he can be, so that he can be desired. and this in turn means he is deep in denial about any bad he has done other than the deep seated feeling that he is simply “bad” as a vague concept and not the sum of his actions. anyway who’s up thinking normal thoughts about characters.

[lokh]

also i think if roleswap laios and canon laios met theyd immediately start fighting.

[trappedinafantasy37]

I went to a very old save of mine in which I knocked out Minthara in Act 1 and I talked to her again in the throne room. If you knocked her out, this is how she looks at you when she questions you:

She seems genuinely disturbed over your actions. Can you blame her? You were the one who knocked her out. You brought her harm for reasons that she cannot understand. She can understand someone killing her as that is what she expects of those around her. She will criticize your choice of sparing an enemy and showing mercy to someone you have greater reason to kill. Even though she has doubts about you, she shuts herself down, thinking she should be more grateful rather than doubtful of you.

You can tell her that you saw her as a potential ally, but she will call you a hypocrite as Gut and Ragzlin were not shown the same mercy, nor was any other True Soul.

You can even tell her, "You were simply too stubborn to die" as a means of trying to take any culpability off yourself. To try to turn the situation into a little jokey joke. However,

Minthara does not take it as a compliment and she knows you are full of shit. Even though you took the "good" path, she does not trust you.

Minthara understands mercy and even she believes some people are deserving of it. Sadly, she does not see herself as one of those people and is disturbed as to why you gave her mercy. There is no answer you can give her here that will make her trust you. She knows you went out of your way to spare her and only her, and that frightens her.

Remember, this is not the first time in which Minthara's entire army was killed right from underneath her and she was deliberately left as the sole survivor. Orin slaughtered all of her men in a blink of an eye, and Orin's "mercy" only brought her pain and torture. Later down the road, Minthara criticizes herself for not paying more attention to Orin when she first arrived at Moonrise. And so she is giving you a lot of attention, she is watching you, studying you, because she fears that you are going to hurt her the moment she takes her eye off you. Because you already have. Your "mercy" gave her a concussion, your deception had her found guilty of incompetence, and she was then subjected to even more torture by the Absolute in which she was given permanent brain damage. She is afraid that the only reason that you spared her, is because you want to torture her. Even when you show up in Moonrise and enter into her mind prison, she is expecting you to kill her and begs you do it quickly. She is not expecting mercy from you, only death. She is only in that predicament because of you. Why would she think for a single second that your mercy comes from a place of good intentions?

She knows fully well that she owes her life to you and that her life is entirely at your mercy, one you can revoke at any time. She doesn't trust you, she doesn't trust the rest of the companions, but she cannot leave nor walk away. There is no good way out of this for her and she's afraid of the cycle repeating. She is not going to make the same mistake again. Instead of her oath to you being from a place of affection, her oath to you comes from a place of fear.

[tls12lessthan3]

thinking about orvs metatextual engagement with its genre and specifically how that interacts with its women again. kim dokja is a self insert for the reader - what he thinks is largely meant to represent what we think, especially in the beginning before sing shong really fleshes out his character. kim dokja sees the world through tropes, directly acknowledging the genre around him and the cliches we expect e.g. the overpowered mc, the scheming villain, the beautiful heroine.

but a major part of his arc is deconstructing this reductionist view of the world in a way that parallels the author's deconstruction of the genre, and that plays really well with the way orv writes women. yoo sangah is perhaps the best exanple - shes introduced as the heroine, a one-dimensional pretty girl who in any other novel would become kim dokja's love interest. but the authors allow her to be her own character, directly challenging the stereotype of the heroine and calling attention to the genre's typical lack of depth for such a character. i think this undercurrent plays in the background often but really comes to the forefront when yoo sangah reminds kim dokja of her putting pepper in their bosses' coffee, a memory kim dokja had supressed because it didn't fit with the pretty girl persona he made for her.

i interpret that moment as yoo sangah pushing her way out of the mold of heroine often found in these stories, demanding a depth be added to her character, asking kim dokja - and thus the reader - to see her in her entirety, to see the heroine archetype for what she could be. orv is at all times in conversation with its genre, and its simultaneous writing of female characters with agency and depth and acknowledgement of the tropes these women are expected to fulfill is undeniably a part of that. and its a part i enjoy. most of the time.

[sereniv]

Can someone who is NOT a zionist tell me why Jewish people have so much conspiracy and hate? when did it start and why? how and why did it spread?

Preferably someone who is jewish or really knows what theyre talking about answer

[kanjichris]

"why don't you want him to know how much you love him?" "that's a little personal. he knows." "uh-huh."