#it’s not even going to be that relevant of a point but it’s a detail I need to be sure about

[ephemii]

Allow me to add that anon was also mistaken about that Malleus apparently "still has yuu even if lilia is leaving". Like... Dude, what? Yuu literally tells Malleus, out of the blue, right AFTER he was told about Lilia's impending departure (and implied DEATH hello???) that they found a way to get back home.

Yes, we're still not sure how that is gonna go, or whether or not we will even get a choice between leaving and staying (and that's not even accounting for the many, MANY plausible theories surrounding Yuu's existence in the game to begin with— time loop theory, death theory, Crowley-is-using-yuu-as-a-pawn-for-nefarious-plans "my proud flower of evil" theory....)

Yuu, as stated in the previous post, is literally the first, if ONLY person to treat Malleus like a normal student and not with fear and intimidation of his status and power, and that in itself makes their bond undeniably special to him. What anon clearly didn't understand is that the game applied Malleus early on, on purpose. The whole point was to cement his presence, at least to us players (and subsequently, Yuu), slowly surely, deliberately, so that we'd understand just how developed their friendship is, so that when the time came for the Big Bang of his arc, we'd understand the full picture of his breakdown in book 7— he's dealing with two successive losses, all thrown onto him suddenly, for the first time in his LIFE. He didn't understand exactly what he was missing until Yuu filled the void that previously enshrouded Ramshackle. His presence early in the game, specifically with Yuu, is definitely relevant.

That's literally the whole thing about his character. He has status he has immense, terrifying power which he wields effortlessly, he's been surrounded by a makeshift family but a family nonetheless, pretty much his entire life; he's always had everything, even when the one thing he'd always wanted to acquire—friendship, connection— was never in his grasp. So to have the one form of (to him) evergreen bond he'd ever had break apart by the inevitable, AND the first true friend he'd ever made tell him they would leave? Possibly for good...?

Book 7's entire premise is that nothing lasts forever, and that you can never change fate, only learn to make the most of your circumstances and that it's up to you how well or badly you're gonna take it; hence the whole dream sequence we're seeing, as ridiculously prolonged as it is. Not power, not life even for long-lived fae, not friendships and bonds.... When it eventually comes to a close and we look back on all the events of the book, we'll see just how significantly these little details that had been sprinkled around every book about Malleus would affect the magnitude of his overblot and the Life Lesson he will get.

Also, gargoyles or not, Malleus makes it very clear, on our first encounter mind you, that the reason he liked visiting Ramshackle was because he enjoys exploring ruins. Finding Yuu residing there and them accepting him as a friend with no qualms was just a bonus—a very wonderful bonus— and thus he continued visiting them so long as they accepted. Which, evidently, they did, always.

I cannot stand Malleus's involvement in the main story. And I don't mean in Book 7, since every overbloter goes with their respective book, or Book 6 since they need to set up the plot for Book 7. However in every other Book, I HATED Malleus being there. Mainly because he wasn't necessary.

I know that some might think "But in book 2 he's the whole reason Leona hurt so many people." And yeah, I will admit he is important to book 2. However if I were a writer for twst, I would not have had the Diasomnia dorm even make an appearance in Book 2. It was WAY too soon to introduce them, now if they were just mentioned, that would be fine, but to have their models be actually there was pretty ugh to me.

I also didn't like him showing up to Ramshackle, this is mainly because again he didn't need to be there, and it kind of ruins Book 7. This is because 1. Yuu already has friends, 2. There are no gargoyles at Ramshackle dorm, 3. Yuu is now literally his friend, and 4. It gives too much away about Malleus before it's his time to shine.

I will expand on 3, and 4 because they affect Book 7 the most. With Yuu being Malleus's friend it really makes it weird Malleus is so upset with Lilia leaving, since he has Yuu, and there's no guarantee Yuu is even going to go home soon. I say this because Crowley is unreliable. And with having Malleus talk with Yuu about his interests, and himself it made me feel like I didn't really need to read Book 7. It's like if Yuu talked to Idia, and before we got to Book 6 we found out that his brother's death made him not want to explore, and highkey gave him PTSD.

I also feel like having Yuu talk to Malleus doesn't really have any world building. In my opinion I think that Rook should have talked to Yuu at night instead of Malleus. This is because 1. He would be totally interested in Grim and a person from another world, 2. He could explain the twst world, and 3. He's not a main part of Book 5 besides the voting thing.

I've always said Malleus is too important for his own good.

(He's probably too important for anyone's good.)

But seriously, his importance to the story and basic writing mechanisms require him to have effective setup and substantial preliminary involvement.

You might not like Malleus. But this is TWST sticking to the absolute bare minimum of what constitutes passable writing. We talk about that a lot on here and Malleus is one of the characters they actually tried with. So no, replacing him with a less featured character doesn't make sense or improve the writing.

I'm not going to dismantle this take piece by piece unless someone really wants me to. For now, just know that I acknowledge your hot take and leave the rest to the reblogs and replies.

Thank you for your take.

[spacexcowgirl]

I need help what kind of music do people think regulus black would listen to if he were in a modern setting

[ruvviks]

// wip day.

tagged by; @adelaidedrubman, @katsigian and @hibernationsuit, thank you so much!! tagging; @reaperkiller, @envergothash, @dickytwister, @shellibisshe, @secondsundering, @devilbrakers, @dekariosgale, @velocitic, @necro-hamster and YOU!

thought i'd do something different for this today :^) i'm working on a powerpoint (inspired by ezra velocitic thank u for the idea ^-^) to hopefully one day be able to explain the cyberpunk extended blorboverse that red reaperkiller and i have been working on for over a year now! it also includes my own story with vincent and his friends since the two stories eventually come together sometime in 2083 and 2084 (yeah i know the game is called 2077 i don't care leve me aloe). here's some slides to give you an idea of what kind of lore to expect :^)

[openpassionates]

VENUS RAISES AN eyebrow at how gabriel can shift things so he's not at fault or so she holds some responsibility too. she stands on everything she's ever said about him. she usually holds space for those with an addiction but she admittedly doesn't care to humanize gabriel because of everything he's done to her. "when we're talking about parenting or how you're a deadbeat dad or terrible husband, i bring it up. that's relevant. you brought up the abuse when the context didn't make sense and when the shit wasn't even true." instead of making herself comfortable, venus sits on the arm of the couch, further away from him. she has internally made the decision to pick the kids up now to drop them off over at stefan's, whom she's coordinating with right now because he's excited about her and rafael finally doing something about their obvious attractions to each other. "do you hear yourself right now? oh no, you weren't the backup but by the way, i still had some backups on the side because i needed a break from you. you're a fucking joke." all venus can do is smile and give a humorless laugh to keep herself from getting pissed off nowadays. as if he's purposely proving her point, more profanity flies from gabriel's lips as he's talking to her. "you give a fuck because you asked who he was and i just answered. we've had our heated discussions already, thankfully before he could ask me out but he's never once called me out of my name or disrespected me. he's seen and heard me be angry at him and i've seen him be angry with me. we have healthy conversations and we listen to each other to solve it. i don't know what will happen but it's nice to be able to let go of deadweight and start a new chapter with someone new. someone who doesn't need distractions or to run away from their problems." she goes on. "someone who could actually show up for the kids and show them what it's like to actually have a supportive father who isn't a part-time dad. maybe add to the family since he wants kids some day. i'm thinking positively." she details, purposely trying to upset him and get him to get the memo that they were done.

gabriel chuckles at her words, shaking his head. “ like you don’t throw stuff back in my face… you do it every time we speak about anything. it doesn’t even have to be about the past, you’re quick to throw the fact that i’m an addict in my face or that i relapsed multiple times. not excusing the fact that i do it, but you do it too. so, actually— you can go fuck yourself. sorry— that was not needed.” outside of everything that he’s done, becoming an addict is something he would never happen to him. he never had any problems with weed and alcohol when he was younger, but the hardships of adulthood and parenthood and marriage must’ve gotten to him. “see your problem is that you think you’re some back up for me. the random women were the backups because I was already failing as a husband and a father I need a distraction from my issues you were never ever ever back up for anything you were what i was ashamed to face despite never having been judged by you. I was escaping.” he slowly breathes, trying not to snap at her again, like he did a few seconds ago. “whatever. fuck it, then. we don’t have to do any of that don’t care.” he listens to her describe the things that rafael doesn’t do, and he does. “oh my fucking god venus who gives a fuck? he doesn’t cuss at you? ok? you just met him, you don’t know what will happen. eventually he has to see every side of you, not just the good parts. do you think he won’t get angry then? it’s good that he doesn’t belittle you and if I’m projecting I don’t care. there’s not a single person that doesn’t get angry at some point. if he’s not an angry person, trust me you can bring it out. right now you’re just being coddled. it’s new.” he laughs, thinking that this new guy doesn’t know what he’s getting into. he’s frustrated again, he feels like she’s rubbing that date in his face

[nyquilfishtank]

listen i TRY to be normal about shows but i can't help but begin to write a half-analysis on human passion and how it drives people to community and isolation through the lens of characters who are barely mentioned in the show at all and the view they have of their major character siblings

[cerealmonster15]

ALSO god kalim's thing with jamil about only eating food made by him always pops back up in ways that confuse and vex me when i'm trying to write fanfic. somehow i always run into that issue and i have to spend forever trying to bend around it lol.

kalim promised jamil he wont eat anything that jamil didnt make because once jamil got poisoned when testing for him and was sick for a long time and it worried kalim, and i specifically remember a few times it's come up

kalim's lab coat story where he and ruggie end up making food together for a party that they wanted to throw that jamil told them not to, and they ALSO had to use the loophole of kalim cooking with magic because i think jamil told kalim he's not allowed to use knives or something lol

either kalim or riddle's generic uniform story - i think it was kalim's? when he and riddle are at sam's shop, riddle mentions that he'll have trey make a tart so he can bring it to kalim's party and kalim's like NO!!!!!!!!!!!!!!! this is the point that vexes me the most lol. kalim blease why cant you eat food from your friend

another generic uniform story- i thiiiink jamils? maybe leonas? the one where jamil kalim leona and ruggie are having lunch together or something for some reason and i think the reason kalim is able to eat in the cafeteria that day is specifically because it's a buffet day [i might be mixing up my sources but i know they do say the buffet thing at least once and i have borrowed that for several fics when i couldnt think of anything else lol 😭]

but then im CONFUSED!!!! on instances where it DOESNT apply, like kalim said no to riddle and trey bringing a tart to his party, but then one of the main activities of pop music club with kalim, cater, and lilia, is like, bringing and sharing snacks for the three of them to all share and try together............

so whenever im writing fic im like ok... is this food situation believable for kalim... is anyone going to think about it this hard.... im thinking about it Very Hard.................. am i even remembering the tart thing correctly god i better not be misremembering it

[mantisgodsaus]

there isn't really a specific question on the ask games that fits but we want to hear you talk about what muse is/was like in selkieverse. she fascinates us based on the roughly two things you've said about her

Yes we can do this absolutely! Fair warning - There Are Things Here We Are Not Stating, mainly for spoiler reasons. Hopefully, they are excluded cleanly enough that this still flows well, but this is a long-ass thing so

Muse, though she wasn't a selkie herself, was close enough to Leif that he felt entirely safe leaving her with care of his pelt. She knew that he was a selkie pretty much from the moment that she met him - there wasn't quite as much baggage built up around the risks of having your pelt just Out And About, at the time, though a lot of selkies were a bit skittish about it, and Leif didn't really hide things.

A marriage, at least for moths, is more a contract of trust than anything else - an expression of trust, a unification of families, and so on and so forth. Somewhat more of one for selkies, with the big blaring weak spot they've got - it's a lot like showing your back to someone and just... hoping that they don't fuck you over. You welcome this particular bug into your family and you trust that they'll watch your back and help raise your children and look after your family when you're gone.

She was the usual person to keep ahold of Leif's pelt during expeditions, so as to keep it safe even when his bug body was in danger from being hurt or killed. She was trusted to keep it safe, or to use it for its transformation if the need ever presented itself - it was more shared between them than anything else during the later stages of their life together, and that meant that she was very, very familiar with how it felt.

Leif died in Snakemouth after having given her his pelt for safekeeping. Just to make sure he had an anchor. Just to make sure he didn't go too deep. Just to make sure that, if something happened, she would know he was okay from the heartbeat of his pelt - or, that if it went cold, she would know to stop, and get out while she still could.

She felt his death in the pelt wrapped around her shoulders. The aftereffects of the venom coursing through his veins, reflected in his pelt, giving the warning she needed to order a repeat. She felt his death throes reflected in the very literal piece of himself still trusted with her all the way out, and all the way home.

She sat at home after submitting the report that declared his death, a dead pelt still settled around her shoulders, standing over the shells of their eggs, knowing that the larvae were in the Ant Nursery where she couldn't know if they were all right or if her whole family had been killed where she couldn't even see, and she felt the shudder of a body restarting as the cordyceps settled into his husk.

Muse knew, for absolute certain, that he died. She felt his death throes. She felt his heart stop on her back. She also knew, for an absolute fact, that he was alive after that, even if she didn't know how or in what form. She knew this, and she could feel the dull pulse of his cordyceps self starting to take over his body in his skin, and she could feel the sealskin starting to change under her fingertips, and she was deadly, deadly afraid of looking away- of taking it off, or simply ceasing to pay attention for slightly too long, and returning to find it dead and vacant again. To that end, she just... didn't take it off.

She didn't take it off, in fact, for several years. Past the point where people thought she was in shock and morning and long into the point that people thought that her husband's death had broken something irreparable in her. She continued to wear it long after her children had emerged from the ant nursery, and long after they had begun to grow into fully-fledged selkies of their own, and long after they had the context to know about It All.

She got into arguments about it. As far as anyone else knew, she was dragging her dead husband's equally dead pelt around 24/7, and once her kids were old enough to understand that whole situation, there was a certain awareness of "hey, this is maybe a bit fucking bizarre to do, don't really like that". It was, in particular, a recurring argument with the son that would eventually become known as Grandpa, as he was of the firm opinion that it was Fucking Weird to walk around with a loved one's dead pelt twenty years after said loved one's death, and that she shouldn't Do That.

Unfortunately for him, this was not an argument he was going to win. Muse, being as stubborn as a bull and with no particular regard to what the neighbours thought, had been doubling down on this particular argument for twenty-eight years already. She had chosen to see this through, and no one could really convince her otherwise, though many of her children would try.

As such, she would remain "that weird lady carrying around her dead husband's pelt and skulking around doing who-knows-what since there's no damn way her husband's life insurance and her dispatch salary from the explorer's association would account for the care and feeding of eight kids plus herself without at least a few jobs in-between and no one knows what the hell she does for a living". The argument, however, would continue.

It would continue, in fact, until after Grandpa had had kids of her own, when Muze was fairly young. The old argument got brought up again, Muse refused to entertain the idea of maybe not being seen as The Local Weirdo, she went off to her room with the usual pelt. She sat, alone, in her room, thinking about the whole Situation. She put on the pelt.

This time, specifically, she chose to put it on in such a way to attempt to shift into Leif's selkie form. It had been years with barely any chance in it, after all. Though she had initially feared disrupting whatever delicate balance was keeping him alive, it had been stable for long enough that she was pretty sure that wearing it wouldn't disrupt something, and she... wanted the assurance, really, that she wasn't going mad. That her choices were based on truth - and that he was still out there, somewhere, even if dead-and-resurructed.

It... worked. With some caveats.

At this point, Leif was entirely merged with the cordyceps components, entirely hosted on crystal hardware, and the mirror that his pelt offered to his body was one where the bone marrow, connective tissue, and structure had entirely been eaten away by now, and the vast majority of the flesh was now composed of cordyceps tendrils that were a whole lot more obvious when they were puppeting around a skin suit with an internal skeleton, and not a relatively rigid exoskeleton.

No one could really deny that her old paramour was alive enough to animate a pelt. Unfortunately, no one could deny that whatever the fuck had happened to him, it had warped his selkie form beyond anything that anyone had really expected to be possible, and absolutely no one wanted to learn what the fuck his body looked like back in Snakemouth, or what form he was alive in, and no one really wanted to touch the pelt that had offered a form like that.

In particular, no one really wanted to see that particular pelt anywhere that someone might try to put it on after that whole fiasco, and no one was particularly fond of the idea of continuing to let Grandma Muse walk around with the living pelt of whatever her partner had become.

After a great deal of arguing, she accepted the compromise of hanging it over the mantelpiece, where she could keep an eye on it even without physically wearing it. She would then proceed to relocate herself to the living room for most of the rest of her days, if only to make absolutely certain that that faint, dull hum beneath the skin was still active- that he was still alive out there, somewhere, in whatever form.

Against all odds, she would live to see his awakening. Unfortunately, she would not live to see him actually return to his family - just to see the tell-tale shudder of a pelt growing active again, as miles below, Leif stirred from his slumber.

Her family are currently engaged in Trying Very Hard Not To Think About The Whole Situation. They are fairly certain that whatever the pelt belongs to, it's still in Snakemouth Den. They are fairly certain that Leif's relation to the family is through it, though theories are more "he's the kid of whatever-it-is and a different moth" than assuming that he Is In Fact Todd's Great-Grandfather.

No one really wants to take the pelt down from the mantelpiece at the moment, and absolutely no one wants to explain the whole Situation to Leif unless they have a better idea of what he's inherited from his other parent, but there's also enough shit going on with them in general that it might just never get brought up until someone directly mentions it.

Leif is currently under the impression that Muse remarried to a selkie because the whole "being a selkie" thing wasn't terribly relevant to the way that his current cordyceps took up residence and after that whole Situation he was not especially eager to delve into previously repressed memories.

Predictably, this whole setup goes Terribly when poked at, especially as Leif's pelt is a whole lot more autonomous than your average selkie pelt, being more than a century old by now and belonging to a fungus who is very much set up in a way where his disconnected individual body parts can act autonomously on remnants of whatever priorities are/were in the main control system.

It is still hung over the mantelpiece.

[screambirdscreaming]

No it's literally that she canonically has terrible taste

Love and light to marcille but she has the worst fucking opinions on God's good earth

[frankmillerturnonyourlocation]

Okay according to the script Penny is apparently intended to be reading The Toy Collector in the laundromat.... looked up a summary. currently considering this a baffling choice but am working to make it meaningful within the framework of my current understanding of Penny.

[reasonsforhope]

Given the misinformation that's been going around and will be going around, thought this might be helpful to some people

For a lot of reasons, I'm very good at this/at searching, to the point where I have worked as a professional fact-checker for two different publishers. So, here goes:

My Article Fact-Checking Protocol

Thorough Version

Read the full article. Keep an eye out for emotionally loaded words, and all-or-nothing language

Keep an eye out or anything that sounds too good to be true, and in contrast, anything that sounds so awful it must be true

Run the website/source through the amazing Media Bias/Fact Check. They'll tell you about a publication's bias and history of accuracy

Go to the website's home page and read through the headlines. Look at what topics they cover/prioritize, sensationalist headlines, and whether they're framing anything in a way that feels odd/off to you

Do a search related to the topic. This can be keywords, a question, or even just copy-paste the article title (Recommended: use DuckDuckGo so the results don't change based on what Google thinks they can sell you)

If multiple highly credible sources that say the same thing pop up, and there's no major societal biases that might affect the coverage of the topic in those sources (e.g. anything related to the Israel-Palestine conflict/Palestinian genocide, no matter which side), then I'm done!

If there are major societal biases, or I can't get a consensus of sufficiently credible sources, then I do some combination of:

(1) search the topic again + the words "controversy" and/or "fake"

(2) search the opposite of the topic, or do some sort of other filtered search

(3) look up a sufficiently credible news outlet with the opposite point of view of my source, and see what they have to say

(4) if it's a big enough topic, start by looking up 2 of the top national papers and 1 major paper for your region (I usually do the ones in the US, because that's where I am In the US: the LA Times, the Washington Post, and the NY Times)

Adjust "news" to "relevant type of source, e.g. tech, environmental" as relevant for all of the above options

If no red flags come up, and it's a topic I understand enough to smell huge bullshit,

Then I'm usually done!

If there are red flags, or I actually need a certain amount of detail/understanding, then it gets more complicated, but that would be a whole other thing to break down and such

or

tl;dr

Quick Version

Read the full article. Keep an eye out for emotionally loaded words, and all-or-nothing language

Keep an eye out or anything that sounds too good to be true, and in contrast, anything that sounds so awful it must be true.

If I don't know the website:

Run the website/source through the amazing Media Bias/Fact Check. They'll tell you about a publication's bias and history of accuracy

If I trust the source, but something else pinged my radar:

Do a quick web search to verify anything that sounds suspicious or too good/bad to be true (Recommended: use DuckDuckGo)

[felassan]

Dragon Age: The Veilguard info compilation Post 1

Post is under a cut due to length.

There is a lot of information coming out right now about DA:TV from many different sources. This post is just an effort to compile as much as I can in one place, in case that helps anyone. Sources for where the information came from have been included. Where I am linking to a social media user's post, the person is either a dev, a Dragon Age community council member or other person who has had a sneak peek at and played the game. nb, this post is more of a 'info that came out in snippets from articles and social media posts' collection rather than a 'regurgitating the information on the official website or writing out what happened in the trailer/gameplay reveal' post. The post is broken down into headings on various topics. A few points are repeated under multiple headings where relevant. Where I am speculating without a source, I have clearly demarcated this. if you notice any mistakes in this post, please tell me.

as this post hit a kind of character limit, there will probably be at least 1 more post. :)

Character Creation

CC is vast [source] and immensely detailed [source]

We will enter CC straight after Varric's opening narration [source]

You are given 5 categories to work your way through in CC: Lineage, Appearance, Class, Faction, Playstyle. Each of these has a range of subcategories within them. There are 8 subcategories within the "head" subcategory" in "Appearance" alone [source]

Lineage dictates things like race (i.e. human, elf, dwarf, qunari) and backstory [source]

Backstories include things like factions. Factions offer 3 distinct buffs each [source]

There are dozens and dozens of hairstyles [source]

There are separate options for binary and non-binary pronouns and gender [source]

"BioWare's work behind the scenes, meanwhile, goes as deep as not only skin tones but skin undertones, melanin levels, and the way skin reacts differently to light" [source]

CC has a range of lighting options within it so that you can check how the character looks in them [source]

There are a range of full-body customization options such as a triangular slider between body types and individual settings down to everything from shoulder width to glute volume [source]. There are "all the sliders [we] could possibly want". The body morpher option allows us to choose different body sizes [source]

All body options are non-gendered [source]

They/them pronouns are an option [source]

Rook can be played as non-binary [source]

Individual strands of hair were rendered separately and react remarkably to in-game physics [source]

Special, focused attention was paid to ensuring that hairstyles "come across as well-representative, that everyone can see hairstyles that feel authentic to them, even the way they render" [source]

The game uses strand hair technology borrowed in part from the EA Sports games. The hair is "fully-controlled by physics," so it "looks even better in motion than it does here in a standstill" [source]

The ability to import our choices from previous games is fully integrated into CC. This will take the form of tarot cards - "you can go into your past adventures" and this mechanic tells you what the context was and what decision you want to make [source]

In CC we will also be able to customize/remake our Inquisitor [source]

A core tenet of the game is "be who you want to be" [source]

There are presets for all 4 of the game's races (human, elf, dwarf, qunari), in case detailed CCs overwhelm you [source]

Story

The story is set 9 years since Inquisition [source]

The Inquisitor will appear [source]

Other characters refer to the PC as Rook [source]. This article says they are "the Rook" [source]

The ability to import our choices from previous games is fully integrated into CC. This will take the form of tarot cards - "you can go into your past adventures" and this mechanic tells you what the context was and what decision you want to make [source]

The prologue is quite lengthy. A narrated intro from Varric lays the groundwork with some lore and explains about Solas [source]. In this Varric-narrated opening section, the dwarf recaps the events of previous games and explains the motivations of Solas [source] (Fel note/speculation: this sounds like this cinematic that we saw on DA Day 2023)

What happens first off is that Rook, who is working with Varric, is interrogating a bartender about the whereabouts of a contact in Minrathous who can help them stop Solas. The bartender does not play nice and we are presented with our first choice: talk the bartender down or intimidate them aggressively [source]

The first hour of the game is "a luxurious nighttime romp through a crumbling city under a mix of twinkling starlight and lavish midnight blue" (Minrathous) [source]. The game begins with a tavern brawl (depending on dialogue options) and a stroll through Minrathous in search of Neve Gallus, who has a lead on Solas [source]. Minrathous then comes under attack [source] by demons [source] (Fel note/speculation: it sounds like the demo the press played is what we saw in the Gameplay Reveal). Off in the distance is a vibrant, colorful storm where Solas is performing his ritual. [source] Eventually we come upon Harding. [source] and Neve. Rook and co enter a crumbling castle, where ancient elf secrets pop up, "seemingly just for the lore nerds". [source] Then we teleport to Arlathan Forest, have a mini boss fight with a Pride Demon, and there is the climactic confrontation with Solas. After a closing sequence, at this point it is the end of the game's opening mission. [source] (Fel note/speculation: So the Gameplay Reveal showed the game's opening mission)

The action in the story's opening parts starts off quite quick from the sounds of things: the devs wanted to get the player right in to the story. because, “Especially with an RPG where they can be quite lore-heavy, a lot of exposition at the front and remembering proper nouns, it can be very overwhelming.” [source]

BioWare wanted to make the beginning of Dragon Age: The Veilguard feel like the finale of one of their other games [source]

Rook's Faction will be referenced in dialogue [source]

Minrathous is beautiful, with giant statues, floating palaces, orange lantern glow and magical runes which glow green neon. These act "like electricity" as occasional signs above pubs and stores [source]

The story has a lot of darkness tonally. These dark parts of the game contain the biggest spoilers [source]. However, the team really wanted to build in contrast between the dark and light moments in the game, as if everything is dark, nothing really feels dark [source]

Our hub (like the Normandy in ME or Skyhold in DA:I) is a place called The Lighthouse [source] (Fel note/speculation: I guess this screenshot shows the crew in The Lighthouse? ^^)

Each companion has a very complex backstory, their own problems, and deep motivations. These play out through well-fleshed out character arcs and missions that are unique to them but which are ultimately tied into the larger story [source]

We will make consequential decisions for each character, sometimes affecting who they are in heart-wrenching ways and other times joyously [source]

Decisions from previous DA games will be able to be carried over, it will just work a bit differently this time [source]. The game will not read our previous saves. For stuff pertaining to previous games/choices, players will not have to link their accounts [source]

Characters, companions, romance

Varric is a major character [source]

Every companion is romanceable [source]

BioWare tried to make each character's friendship just as meaningful, regardless of romance [source]

If you don't romance a character, they may end up romancing each other [source]

There will be some great cameos [source]. Some previous characters are woven into the game [source]

Companion sidequests/optional content relating to companions is highly curated when it involves their motivations and experiences [source]

We could permanently lose some companions depending on our choices [source]

Our choices can influence if characters get injured and what they think about us [source]

The bonds Rook forges with companions determine how party members grow and what abilities become available [source]

Each companion has a very complex backstory, their own problems, and deep motivations. These play out through well-fleshed out character arcs and missions that are unique to them but which are ultimately tied into the larger story [source]

We will make consequential decisions for each character, sometimes affecting who they are in heart-wrenching ways and other times joyously [source]

Gameplay, presentation, performance etc

Each class (warrior, rogue, mage) has 3 specializations. The ones for Rogue are duelist, saboteur and Veil ranger [source]. (Fel note/speculation: Veil ranger reminds me of Bellara. Maybe this is her 'spec' too?)

Duelist gameplay involves a sharp combination of dashes, parries, leaps, rapid slashes and combos [source]

Faction-related buffs include being able to hold an extra potion or do extra damage against certain enemies [source]

Individual strands of hair were rendered separately and react remarkably to in-game physics [source]

Playstyle settings include custom, distinct difficulty settings for options as granular as parry windows, meaning "players who might fancy that playstyle but typically struggle with the finer points of combat can give it a go" [source]

Combat mechanics is a mix of real-time action and pause and play. Pausing brings up a radial menu split into 3 sections: companions to the left and right, Rook's skills at the bottom, and a targeting system at the top which helps get in focus on certain enemies. [source]. In the pause system you can queue up your whole party's attacks [source]

Tapping or holding the shoulder button pauses the game, allowing us to stop the action and issue orders to companions [source]

There is a system of specific enemy resistances and weaknesses [source]. Weaknesses and resistances plays a big role in combat and abilities are designed to exploit these accordingly [source]. An example is that "one character might be able to plant a weakening debuff on an enemy, and another enemy might be able to detonate them" [source]

There is a vast skill tree of unlockable options [source]

You can set up specific companions with certain kits, e.g. to tackle specific enemy types, to being more of a support, or as flexible all-rounders [source]

Healing magic returns [source]

Abilities can change together with elaborate results, e.g. one companion using a gravity well attack that sucked enemies together, another using a slowing move to keep them in place, and Rook using a big AOE to catch them all at once [source]

A shortcut system lets you map a few abilities to a smaller pinned menu at the bottom of the screen [source]

There are class-specific resource systems. For example, Rogue has "momentum", which builds up as Rook lands consecutive hits [source]

Each class will always have a ranged option [source]

Rogue Rook can do a sort of 'hip fire' option with a bow, letting you pop off arrows from the waist [source]

Warriors can throw their shield at enemies, and can build an entire playstyle around that using the skill tree [source]

There is light platforming gameplay [source]

The game runs on the latest iteration of the Frostbite engine [source]

The game targets 60 fps

On consoles it will feature performance and quality modes so we can choose our preferred visual fidelity [source]

The game is mission based [source]. Some levels that we go to do open up, some with more exploration than others. "Alternate branching paths, mysteries, secrets, optional content you're going to find and solve." [source]

Everything is hand-touched, hand-crafted and highly curated [source]

Some sidequests and optional content is highly curated, especially when it involves the motivations and experiences of the companions. In others we may be investigating for example a missing family, with an entire open bog environment to search for clues and a way to solve the disappearance [source]

Gameplay, presentation, performance etc continued, after the above bullet list hit a character limit

There is sophisticated animation cancelling and branching. Gameplay is action-like, and the design centers around dodging, countering, and using risk-reward charge attacks designed to break enemy armor layers [source]

The dialogue wheel returns [source]. It gives truncated summaries of the dialogue options rather than the full line that the character is going to say [source]

The bonds Rook forges with companions determine how party members grow and what abilities become available [source]

For stuff pertaining to previous games/choices, players will not have to link their accounts [source]

We can play the game fully offline [source]

There are no microtransactions [source]

The game itself is not as cell-shaded in look as the first trailer looked [source]

[☕ found this post or blog interesting or useful? my ko-fi is here if you feel inclined. thank you 🙏]

[unproduciblesmackdown]

shoutout to have written approx 9k & gotten to the point of this tayriawin wip where any kissing is happening

[oriax]

legally i cant rb the post bc its asking for trouble that im too old to deal with but man. man.

[yzzart]

DARLING, AND I WILL BRING YOU HOME ── KENJI SATO

── summary: While Ken and Emi trained, played together, you were in the stands, cheering them on; unearthing a memory from Kenji's mind.

── content warnings: F!reader, fiance!kenji, scenes of Ken and Emi playing together, mention of Emiko and Professor Sato, a little angst but with comfort in the end!

── word count: 899!

"Lets go, girl!"

Kenji's voice exclaims, in a high and benevolent tone, highlighting a magnanimous animation and excitement for the peaceful environment, so serene and enchanting; hearing the return of his voice through the stillness of the place. — A lovely place, capable of leaving anyone speechless. — A space to call his own.

Fixing and comfortably positioning the cap, Sato takes two steps back and raises his hand for the second time. — Waiting for the attention and focus he were looking for.

“You can do it, you know that, don’t you?” — He questioned with support, helping the big baby lizard; who, in response, grunted gently, without lacking her tenderness, and shook her small, and immense, arms. — "Of course you know!" — Exprimiu, orgulhoso.

“Go, Emi!” — Claps, associates of euphoria, entering into a condition of encouragement, from you; earning affectionate glances and admiring expressions from Sato and the baby. — “Make me proud!” — You got into the rhythm, feeling the wave of encouragement, content in the crowd. — Like you did every time you watched Kenji's games.

Sitting in the stands, made, technologically, by Mina, which easily reproduced a real and authentic Baseball field, containing all the tiny and relevant details. — Including the fact that that field was always chosen by Kenji. — You watch them play.

Moments, scenes, like these had already become routine between you; bringing cycles of leisure, distraction and a way to teach practical notions to Emi. — Which was, faithfully, important and approved by Professor Sato. — In addition to directing, training and, again, further preparing Kenji's passes for the championship; you advised him, agreeing that it could help him.

"Did you hear her?" — He tilted his head toward you, earning an excited squeal and a blink, with precision, from Emi. — "Pay attention to the ball, like last time." — Kenji swung the small ball, attracting her concentration, and smiled when he realized he was reaching it. — "There you go!" — With a strong throw, intending a stable impulse, Kenji threw the ball towards the adorable creature.

With the basic reflexes, which, by the way, were being amplified, upon seeing the small object heading towards her, Emi, holding the huge bat, easily bounced the ball and shot so far that it disappeared into the programmed sky. — Being worthy of an incredible play.

"That's right, baby!" — You shouted, standing up, quickly, with enthusiasm, burning with exaltation and vibration, raising your arms up. — The baby lizard, finding your voice, directed her head towards you; smiling, dazzled by her celebration and, even though she didn't understand so many things, she happily got excited.

It was not possible, much less plausible, to counter the emotions, and old sensations, that came from Kenji's chest; conceiving an ardor of passion, bonds of fascination upon hearing their cries of celebration. — In addition to your claps, the way you had gotten up and approached the field, wanting, in some way, to capture every little point of the play. — He remembered, with such grace and delicacy, the moments when his mother watched him play.

Not missing any matches, even training, she was present; shouting, clamoring, cheering for little Kenji. — Recording all the games, leaving them as souvenirs and secretly sending them to his father; Ken wasn't aware of that, he wasn't that. — Emiko was always there for him and with him.

And watching, witnessing you accompanying him, lifting him, supporting him and guiding him for so long — now, caring, by his side, for a young Kaiju — guides Kenji towards a light, deeply, pure and loyal to all the love he could feel in his heart. life. — The same light that guided his father to his mother.

"Now, run the bases, girl!" — He warned, smiling and ecstatic about the result, and signaling Mina to follow Emi, who quickly flew towards her. — "I'm proud!" — He exclaimed and was responded to with a loud and cheerful, and slightly breathless, scream.

Moving away from where he was, leaving Emi running across the field, Kenji took steps towards you, never stopping to smile, even more so, hearing the baby's amused grunts and seeing the adorable and charming expression on your face. — Also, influenced by the fact that you are wearing one of his caps. — Contemplating you once again.

"She's getting better and better." — You said, biting the lower part of your cheek, bowing your head, looking at the young man and raising one of your hands to his t-shirt, repairing a small and insignificant dent.

"That's good, however…" — He looked up, acting as if he were thinking about something convenient, promising. — "…i feel like our girl could surpass me at any moment." — He joked, in a mix of drama and suffering.

Taking you by surprise, even though you were so used to his comments, you couldn't contain a beautiful and melodic laugh, shaking your head, refusing to believe his words; but, feeling your heart warm when you heard the magnanimous and dazzled way in which Kenji recognized Emi. — Letting that phrase repeat itself in your mind.

Kenji was right, you hadn't, and wouldn't dare, disagree about what he had said; no one could.

"Our girl…" — You murmured, conveying tenderness and softness in the small words. — Resting your head on Kenji's chest, being able to hear his heartbeat, and feeling one of his strong and safe arms around your waist, bringing caresses to the area, you and Sato saw Emi running through the large and beautiful field.

[pygmi-cygni]

writing tip - research

research is one of the pillars of writing. a poorly researched fic, essay, short story, novel, etc is immediately apparent because of several things:

lack of depth

stagnant plot or development

confusing or inconsistent setting

it doesn't matter what genre you write, if it's original or fiction, whatever. you need to research. depending on the relevance of your writing, the depth of research may vary, but it needs to happen. you do not know everything.

Fantasy

I see a lot of writers and authors use fantasy as an excuse to avoid research. Shut the fuck up. Every good fantasy is based on a real ocurrence or social dilemma. That's why we like it so much.

'but pygmi, fantasy is made up! it isn't real!'

SHUT UP. Even if you don't realize it, your story will have elements that readers are intimately familiar with. If you flub something, it will be noticed.

Besides, just because you make stuff up doesn't mean you can be inconsistent. You'll just have to fill in the cracks with made up stuff, which will even out to being about the same amount of effort. Pick your poison, either way you're gonna feel it.

Research is not everybody's favorite. I like it, personally, I think it's like going on little side quests for knowledge. But I understand if you wanna skip all the business and get to writing your baby. No shame.

Let me give you some pointers to make sure the time you spend researching is relevant and well spend.

Lists! God I love lists. after you have outlined your story and your characters and everything, make a list of all the things you need to have a deeper understanding of. This means determining priorities. - How important is The Thing? Will it majorly affect plot or character development? Is it a focal point of the setting? If the answer is yes to any of those questions, it's important. research.

Big picture, little picture. How important is The Thing (again)?. How much detail do you need to know? Especially when it comes to royalty or a hierarchal system, I see research being misguided. There are so many nuances to royal interactions that I could give a rat's ass. Big picture, general outline. I don't need to know everything, just basic courtesy, terms of address, appropriate convo. done. but if your MC is a coroner? might wanna put more detail into that; you'll be talking about the job a lot. determine how much the element will affect your story and go from there.

Don't fudge it for the plot. You'll have a preconceived notion of a certain job description, and then research it and think 'oh that's actually boring.' Don't muddle up the rules just to fit the aesthetic. It's sloppy, and your readers will notice.

To practice researching, pick your topic and after learning a bit about it, try teaching a powerpoint to your parents or friends. if you feel comfortable enough with that knowledge to do it successfully, I'd say you have a good enough understanding.

Setting

researching location is a big one that often gets overlooked. You don't always need to memorize maps, but get a general idea of the city/country layout so when you say "they drove 20 minutes from A to B" it makes sense, rather than having a reader think "Uh, A to B is closer to four hours, wtf?"

if you are making up your city, make a list of important streets and locations in relation to each other. This will help you keep it straight and organized in your head.

Get a feel for flora and fauna. Palm trees don't grow in Alaska. Don't write an Alaskan city with palm trees.

Weather? what's it like? Let me tell you, Portland doesn't get higher than 102F. rainy, cloudy, all that stuff.

Atmospheric details really add a lot, especially if your audience is from that location. It adds another layer of relatability. Also, use weather/plants/animals to your advantage! symbolism, possible curse, all that stuff.

Eras

Oh my god stop fucking this up. Baroque, Elizabethan, Edwardian, Middle Ages ARE DIFFERENT FROM EACH OTHER. STOP SLAPPING FANCY CLOTHES ON PEOPLE AND CALLING IT THE OLDEN DAYS.

get an idea of when electricity was widespread in homes. when was the refrigerator invented? did they use the word 'hella' in 1950? this kinda stuff is important for not breaking the illusion of a time difference. If you are writing a period piece and someone is chatting with a neighbor like it's 2015, we'll have some questions.

Unless it's doctor who. you guys can do literally whatever.

Plot and Character Development

If plot and characters are poorly researched, you are limiting the opportunities for growth. In researching your MC's occupation, you may discover a cool side effect that connects to a plot device. Stagnant, stale characters can be spruced up with a more developed backstory.

All in all, research is really important for your story. regardless of how professional it is, tumblr or the new york times. Do your research. As a writer, you are representing the community in your own way. Do us proud.

xox love you

[pippin-katz]

In Defense Of Edwin

Something that has bothered me is that there's a significant amount of people who talk about Edwin being unaware of Charles' pain as if he's oblivious, or like he did something wrong; that is simply unfair to Edwin.

Charles is happy, friendly, and wonderful. That is his personality. That is not all forced.

People are quick to jump on the line that Charles has been hiding his pain from Edwin, but a line people are ignoring from that argument is: "He's probably been hiding it from himself!"

His behavior indicates that he doesn't talk or think about trauma or negativity unless it's relevant to the situation. I doubt Charles even realized how bad his trauma was until the Devlin Murders. His pain was so repressed that he wasn't "feeling" it anymore.

Charles’ Triggers

While I'm not going to say that Charles did not hide his pain from Edwin at all, I am going to point out that this may have been the first time, in a very long time or ever, that they encountered something this close to home for him.

The only real reason Charles discusses his trauma now is because the Devlin House triggers him, genuinely in a psychological way. It's not just the "crazy dad" that gets to him. There are so many details that fit Charles personally. That whole situation is too fucking much for him.

The song Owner Of A Lonely Heart playing in the background; a song that he says he liked enough to get the cassette tape but that it was smashed by his father.

The controlling and restrictive behaviors of the father on his daughters. The eldest daughter writing about walking on eggshells and looking forward to graduation.

The way that the father kills them; he doesn't shoot them, or poison them, or whatever, he butchers them. His attacks are physically direct. He swings an axe, so his movement is the root of the violence. If it had been a gun, it would've been his finger on the trigger, but the bullets hitting them. Charles was abused by his father through the means of a belt, which is physically direct.

The loop, having to watch it over, and over, and over again with no break, no relief, and not being able to do anything, no matter how many times he sees it happen. Charles' abuse seemed to be regular and constant, no matter what he did. It always ended the same way.

All of that is then exacerbated by the Night Nurse forcing him to reexperience his trauma the very next day. That's a lot of specific details and events that lead to his complete breakdown.

Charles hasn't been consciously choosing to hide all of that pain from Edwin. It had been buried to the point where even he couldn't see it anymore, but the Devlin House uprooted it from his subconscious.

Charles’ Parents

Now, he does hide his habit of checking on his parents from Edwin, but that's not fully about his abuse. Charles misses his family, his life, being alive.

It's worth noting that he only shows Crystal his parents because he's trying to connect with her about not being able to go home. He didn't bring that up on a whim. It was relevant to help Crystal feel understood. She's not special; if someone completely different from her did the exact same thing, Charles would've shown them too.

Now, let's talk about him not telling Edwin. Charles may not have a full comprehension of Edwin's experiences, but he knows he's different from "normal" people. Hiding his parents from him is likely just as much about not wanting to hurt Edwin as it is protecting himself.

Edwin does not show any type of longing for his life. Everything he knew about the world from his time is gone or been changed beyond recognition. He doesn't have a family to miss, not that he was close to them in the first place; even if he did have an emotional connection to them, they've been long dead.

And Edwin seems unbothered, but there’s no way for Charles to know that for certain. Watching his parents weekly would remind Edwin constantly that he does not have anyone. He’s worried about being insensitive; he feels like he would be unintentionally taunting Edwin and rubbing salt into the wound.

Edwin has been dead for over 100 years and spent 70 of those years being torn apart by a demon in Hell; how could he even remember physical sensations other than pain and exhaustion? How could he remember the taste of food while running through Gluttony, watching its inhabitants vomit profusely? He never saw the appeal of romance or sex prior to his death, and then he witnesses the bloody masses of people in Lust; how could he be anything other than repulsed?

Charles tells him that pain is not a contest, but he almost without a doubt compares his own experiences to Edwin's. It's something people with low self-esteem do more than others. He feels guilty, like he’s selfish for being upset; Edwin has it so much worse.

How does being abused by his dad compare to being dragged to Hell? He got hit with a belt; Edwin was ripped apart. Who is he to whine about his life to a boy who has died more times than days Charles has existed?

He may not have had the specific details before, but the knowledge of it being Hell was enough. When you don't put your own needs on your priority list, that's one of the first "justifications" your brain comes up with. They already have enough on their plate, and you don't need to talk about it. You're totally fine! So yes, hiding his parents from Edwin makes sense from his perspective.

But his abuse? Charles doesn't even realize how much pain he's in; how could Edwin have realized?

My point is that Charles wasn't actively choosing to hide all of his pain from Edwin for thirty years, so to blame Edwin for not noticing is like blaming a blind person for picking up a red ball instead of a blue one. He couldn't have noticed; there was nothing for him to notice. Charles wasn't wearing a full mask.

The second Charles shows any indication that something is wrong, Edwin does notice!

Edwin may have trouble with people, but he's not oblivious, and he knows Charles. If he's ever been upset like this before, he would've noticed. He notices Charles' change in behavior after Crystal joined in only a day, and he doesn't deny it when Edwin calls him out.

Edwin also follows up on asking if he needs to talk about his father. Charles brushes him off, but Crystal and Niko show up before Edwin has a chance to press a little more, which I think he would've. I don't think Charles would've opened up, but it would've shown that Edwin is aware that all is not well. He is aware, but on top of being in the dark about it, he's got his own shit he's working out and cases to solve. His attention is divided.

I think it's important to remember this fact that has been driving me mental for months now:

Charles and Edwin’s dynamic during the show is a completely different dynamic than the one they've had for the past thirty years.

The introduction of Crystal, going to Port Townsend, meeting Niko, Monty, fighting Esther, the Cat King, etc. etc. etc. Everything about their relationship gets shaken up from the start of the show. They're both acting differently in all sorts of ways, and some they even acknowledge to each other.

What we saw of them in Port Townsend is not what Charles and Edwin were during those thirty years. It's unfair to pass judgement on something we don't actually know about.

I guess what I'm saying is that I'm getting really tired of fics/posts making a commentary about Edwin not noticing being something he has failed at. Does Edwin feel guilty for not realizing it sooner? Absolutely, but please, at least acknowledge that it wasn't his fault if you're sticking to canon. If you want to twist some shit into it to make it more complicated, make it more angsty, go right ahead! I'm absolutely not stopping you!

But canonically, at least I feel after studying these characters under a microscope, Edwin could not have known sooner.

(ko-fi)