#it's not the most important to the plot

[mushroompollution]

Chapter 36: the Sablier Arc part 2

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read the manga (r-slur tw): imgur || mangaread (ad warning)

The heroes are escorted to The House of the White Angel Fianna, an orphanage for children whose parents were Illegal Contractors, or killed by them. Children like Phillipe, Oz realizes.

As one of the nuns approaches them, Gilbert overhears that the Duke Nightray, his adoptive and Elliot's legitimate father, is in town and seems uncomfortable. But as Oz begins to introduce himself, Elliot suddenly grabs him by the shoulder and hauls him off into a sideroom with a sharp insult.

He tears into Oz for forgetting about the feud between their families and announcing himself in a Nightray facility. But Oz is just pleased to hear that Elliot believes he's really Oz Vessalius.

Oz's focus shifts to Phillipe, the child of an Illegal Contractor he had tried to save. He'd managed to speak to the man back then, to calm him down despite the rampaging Chain linked to him. But just when it seemed to be working, Vincent had stepped from the shadows and shot the man clean between the eyes.

And Phillipe had watched.

It was the first time in his life that Oz had failed to keep a promise, and it was a night that had haunted him for months.

But now, as Oz takes his tiny hands and apologizes so heartfully, Phillipe just cocks his head in confusion. "What's that about? I just received a letter from father the other day!"

Oz's eyes widen. Elliot and Leo are silent and stoneyfaced, the latter holding Phillipe in his lap as the child yammers on and on about the conversation gleefully. Leo squeezes his shoulder gently and tells the child to let his big brothers talk, and carries him out of the room.

Oz recounts his story of Phillipe and his father, but Elliot doesn't seem very interested in most of it. With a serious expression, he asks if Oz heard anything at all about a "Headhunter" from either of them.

Oz seems confused, and Gilbert interjects, saying Oz wouldn't know about that, and he shouldn't bring it up.

Well then. Elliot decides their business is done, he has nothing else to say to them. When Oz tries to be cute again, Elliot shoves him to the ground and turns on his adoptive brother

He reminds Gilbert that not only is he a Nightray, he's the one who inherited Raven, and should be carrying the family's black-bladed sword. He chastises him for turning his back on their family when they needed him, especially to serve a Vessalius kid, and wonders if Gil even realizes he's hurt him.

Elliot takes a moment to collect himself, and remembers all the sideways glances and whispers. All the rumors that the Nightray family had collaborated with traitors, playing a part in the Tragedy of Sablier. All the words his father had imparted on him throughout his upbringing:

"Hate the Vessalius family with all your might. They're the reason our family's reputation is tainted."

He's broken from his seething by an approaching Leo, who asks why they came by. Elliot doesn't know, but one of the children at Leo's side does.

"big brother said he wants to go to the inner part of the hole!" she chirps happily. Elliot and Leo both freeze.

The protagonist trio make their way down the rocky embankments of the crater. As they do, Oz says he'd heard from the children of Fianna's that the hole is a scary place, that those who go in, never come out.

That it connects to the Abyss.

"I used to say 'that's just to scare kids' but..." but then he'd been pushed into Abyss himself.

As Oz thinks that, Alice gasps, looking off into the empty darkness of the crater. "there's someone there--"

"There isn't anyone--" Oz starts to say, but has he turns, the scenery suddenly changes

But as they go deeper still, it doesn't feel nostalgic to Oz. It feels terrifying.

Suddenly, Alice stops. Again, she seems to see something the others can't. The ghost of a girl who looks just like herself calls out to her, and suddenly she finds herself in a memory again.

Oz turns quickly, only to realize that Alice is gone. Gilbert cries for him not to get separated, but his words hang in the air, halted as the ghost of a small child that looks just like him runs past, and he suddenly finds himself lost in a hedge maze.

Oz realizes he's alone. He calls out to Gil, then Alice. They were just by his side a second ago... But when he looks again, Oz finds himself in a memory as well. It's a haunting memory he's seen before but isn't quite his own.

The smell of smoke and blood. Bodies all around him.

The Tragedy of Sablier.

[archerdepartures116]

Ill post this au( inspired by tweet above) i started on my twt on Tumblr too

First part

more comic panels below

Second part

Third part

Fourth part

Shenanigans side extra

this is currently an ongoing series, if this does well here, I will continue posting these in bulk (～￣▽￣)～

for more frequent uploads, you can follow my twitter at ArcherD116, feel free to ask me ab this au and give your suggestions!

[the-magpie-collective]

Wyll seems to be the only companion who intentionally and repeatedly uses the mindflayer tadpole to communicate. I did a quick search through the dialogue files and the only other instance I found was at the beginning of Act I, when Lae'zel is captured by the tieflings, she'll use the tadpole to demand you free her.

And yet, Wyll is one of the companions most against using the tadpole's powers. Arguably, I'd say he's more against it than anyone save for Lae'zel. Which is why I find it so interesting that out of all of companions, Wyll is the one to latch onto and make use of this facet of the tadpole's powers.

The first time Wyll can use the tadpole is when Mizora bids him to rescue Zariel's asset. If the Player succeeds on their perception check, they can bargain with Mizora to free Wyll from his pact. Wyll link his mind with the Player's Character in panic, demanding to know "What are you doing?"

Then again when Wyll is finally reunited with his father, he uses the tadpole to show his father why he pacted with Mizora. Instead of explaining in his own words, he shows him the cultists as they attempt to summon Tiamat into Baldur's Gate. He'll do the same for the Player Character if his father isn't saved, even when he is freed from his pact and could say it in his own words. If the PC refuses to let Wyll show them, he will explain it, but clearly prefers to use the tadpole.

Finally, Wyll will also use the tadpole to bid farewell if he has a falling out with the player character, telling the player "Godspeed, and may your journey be true."

For Wyll, who had spent the last seven years under a devil's thumb, this narrative choice to use the tadpoles to communicate is telling. One thing all of these scenes have in common is that they all emotionally charged moments. They are also moments in which, in my opinion, it is very important for Wyll to convey his sincerity. Wyll has spent the last seven years always dancing around the truth and now here comes along a power where not only can he tell the truth, he can show the truth as he sees it, so that there is much less risk of being misunderstood. A power like that has to be irresistible.

Just another thing I wish was explored more in depth in game.

Edit: Thank you to everyone who pointed out instances when other characters also use the tadpoles to communicate <3

Turns out Wyll/Lae'zel's writer is the only one who bothered to use proper tagging in the dialogue system ('MINDMELD' if you're curious). This is why I can never find what I'm looking for in the dialogue files smh

[egophiliac]

my absolute delight at seeing that the riderboys DO in fact have special magical girl transformation sequences --

(now if they really wanted to commit they would go full sailor moon with the ribbons and bubbles and sparkles, hint hint toei)

[cubbihue]

So.... why'd Peri get assigned Dev as his first godchild?

Jorgen’s usually not the one in charge of assigning godchildren. There’s an entire department that weighs and classifies potentail Godkids to the right Fairy. Although it’s on strike at the moment.

So Jorgen has to do it by hand, until the union negotiations are resolved. Turns out trying to use paperclips is very hard. Itty bitty paperclips. Big muscular biceps. Not a good combo.

Bitties Series: [Start] > [Previous] > [Next]

Peri's Assignment: [Previous] > [Next]

[thefirstpaleontologist]

you might think a show about 4 detectives solving a murder would be very pro cop but instead the show had all 4 detectives, individually and at different times, act outside of and go against the police institution in order to do what is right.

And they made all the other cop characters evil and corrupt.

[aroaceleovaldez]

tbh my latest biggest theory for why HoO and onwards is such a dramatic drop in quality and consistency is just. Rick stopped making teaching guides.

Like, the Lightning Thief teacher's guide is SUPER in-depth with even stuff like sources about middle grade child psychology and exact specifications of where he's applying that, explaining what different character's goals/motivations are, their dynamics with each other and their environments, etc etc. Even specifying which specific myths certain plot elements are supposed to reference or be about.

That stuff just doesn't exist for later books. There's activity guides and smaller, significantly more simple teacher guides for later books but they don't go into anywhere NEAR the same level of depth. The TLT one is a full lesson plan that breaks down the book at every level and explains what's going on and more or less why Rick did that. The others are all basically just glossaries of terminology and some simple question guides.

And they didn't even use the TLT teacher's guide for the Disney+ show because they clearly aren't adhering to any of what's discussed in that breakdown of the book.

By creating a teaching guide alongside writing the actual book, that's forcing you to document what you're doing, why, your sources, and information about your characters and the story they're in. It's like an even more in-depth version of a series bible. But that's lacking for later books (and etc) and it shows because that level of thought and depth and attention just isn't there anymore.

[sunrisebones]

Imagine reading a story all the way to the finale while hating the second main characters guts so much that you wished death upon them

I’m not gonna control what you do in your free time. But me personally? I would’ve dropped the comic by now if I didn’t like one of the main characters like this

[lord-squiggletits]

I think the key component to my personal reading of post-Delphi Pharma is that he's trying to be a horrible person on purpose. Not "on purpose" in the way that people have free will to exercise their own choices, but in that Pharma's "mad doctor" persona is a performance he puts on to deliberately embrace how much everyone else hates him. Basically, if people already think you're a "bad Autobot" and a horrible doctor who just kills his patients for fun, why try to prove otherwise to people who have already made up their minds about you? Just fully embrace the fact that people see you as an asshole. Don't try to change their minds. Don't plead for their forgiveness or understanding. Just stop caring. If you're going to be remembered as a monster, you might as well be a memorable monster, and eke as much pleasure and hedonism as you can out of it before karma catches up to you and you inevitably crash and burn.

I mean, I guess you could just go the route of "Oh, Pharma was always a fucked up creepy guy and Delphi was just him taking the mask off," but I really don't like that interpretation because, for one, it feels really wrong to take a character like Pharma becoming evil under duress and going, "Oh well clearly he did the things he did because he was evil all along," as if somehow Pharma breaking under blackmail/torture/threat of horrible death was a sign of him having poor moral character. As opposed to, you know, suffering under the very real threat of horrible death for himself and everyone he cares about while being manipulated by a guy who specializes in psychological torture.

The second reason is that it just doesn't make sense to write Pharma as having been evil all along. I mean...

Occam's Razor says that the best argument is the one with the simplest explanation. Doesn't it make way more sense to take Pharma's appearances in flashbacks, his friendship with Ratchet, his stunning medical accomplishments, and the few we see of him speaking kindly/sympathetically (or in the least charitable interpretation, at least professionally) towards his patients and conclude "This guy was just a normal person, if exceptionally talented." Taking all of these flashback appearances at face value and assuming Pharma was being genuine/honest is a way simpler and more logical explanation than trying to argue that Pharma for the past 4 million years was just faking being a good doctor/person. I mean, it's possible within the realm of headcanon, but the fact is Pharma's appearances in the story are so brief that there simply wasn't room in the story for there to be some sort of secret conspiracy/hidden manipulation behind why Pharma acted the way he did in the past.

I just can't help but look at things like Pharma's friendship with Ratchet (himself a good person and usually a fine judge of character) and the fact that even post-Delphi, pretty much every single mention of Pharma comes with some mention of "He was a good doctor for most of his life" or "He was making major headways in research [before he started killing patients]" which implies that even the Autobots themselves see Pharma's villainy as a recent turn in his life compared to how for "most of his life" he "used to be" a good doctor.

And although Pharma doesn't know this, we as the readers (and even other characters like Rung) know about Aequitas technology and the fact that it actually works, so... if Pharma really was an unrepentant murderer, why couldn't he get through the forcefield too? The Aequitas forcefield doesn't require that a person be completely morally pure and free of wrongdoing or else how could Tyrest get through, just that they feel a sense of inner peace and lack feelings of guilt. Pharma has murdered and tortured people by this point, and put on quite a campy and theatrical show of how much he sees it as a fun game, so why then can he not get through?

It circles back to my headcanon at the start of this post that the "mad doctor" persona is just that-- a persona. Delphi/post-Delphi Pharma's laughing madman personality is just so far removed from every flashback we saw of him and everything we can infer based on how other people see/saw him before that, to me, the mad doctor act is (at least in large part, if not fully) a persona that Pharma puts on to put his villainy in the forefront.

To avoid an overly simplistic/ableist take, I don't think Tarn tortured Pharma into turning crazy. To me, it's more like the constant pressure of death by horrific torture, the feeling of martyrdom as Pharma kept secret that he was the only one standing between Delphi and annihilation, the physical isolation of Messatine as well as the emotional separation from Ratchet, being forced to violate his medical oaths (pretty much the only thing Pharma's entire life has been about), etc. All of that combined traumatized Pharma to the point that the only way he could avoid cracking was to just stop caring about all of it. Because at least then, even if he's still murdering patients to save Delphi from a group of sadistic freaks, Pharma doesn't have to feel guilty and sick about doing it. As opposed to the alternatives, which were probably either going off the deep end and killing himself to escape, or confessing to what he did and getting jailed for it.

In that light, Pharma becoming a mad doctor makes sense. It avoids the bad writing tropes of "oh this character who was good his entire life was actually just evil and really good at hiding it" as well as "oh he got tortured and went crazy that's why he's so random and silly and killing people, he's crazy" and instead frames Pharma's evil as something he was forced into, to the point where in order to avoid a full psychological breakdown and keep defending Delphi, he just had to stop caring about the sanctity of life or about what other people might think of him.

Then, of course, the actual Delphi episode happens, and Pharma's own lifelong best friend Ratchet basically spits in his face and sees him as nothing more than a crazy murderer who went rogue from being a good Autobot. Then Pharma gets his hands cut off and left to die on Messatine. At that point, Pharma has not only been mentally/emotionally broken into losing his feelings of compassion, he's received the message loud and clear: He is alone. Everyone hates him. Not even his own best friend likes him any more. No one even cared enough about him to check if he actually died or not. He will only ever be remembered as a doctor who went insane and killed his patients.

So in the light of 1. Having all of your redeeming qualities be squeezed out of you one by one for the sake of survival and 2. Having your reputation and all of your positive relationships be destroyed and 3. People only know/care about you as "that doctor who became evil and killed his patients" rather than the millions of years of good service that came before.

What else is there to do but internalize the fact that you'll forever be seen as a monster and a freak, and embrace it? People already see you as a murderer for that blackmail deal you did, so why not become an actual murderer and just start killing people on a whim? People already see you as an irredeemable monster who puts a stain on the Autobot name, so why beg for their forgiveness when you could just shun them back? You've already become a murderer, a traitor, and a horrible doctor, so what's a few more evil acts added to the pile? It's not like anyone will ever forgive you or love you ever again.

Why care? Why try to hold on to your principles of compassion, kindness, medical ethics, when an entire lifetime of being a good person did nothing to save you from blackmail and then abandonment? Why put yourself through the emotional agony of feeling lonely, guilty, miserable, when you could just... stop caring, and not hurt any more?

[dengswei]

@userdramas event 17: plot twist (within a plot twist) @userdramas creator bingo: overlay — the langya rebellion | the blood of youth (2022)

[july-19th-club]

stupid little subplot of the psych i just watched where shawn and gus's friend grew up hot and immediately began hiding all of his nerdy interests from his hot wife because he was afraid she'd leave him. and shawn and gus are like we get it. we've had that phase. but you gotta get through it you gotta find a balance. and then of course it turns out that the hot wife was ALSO hiding all of her nerdy interests bc she was afraid her hot husband wouldnt get it. happily ever after. gift of the magi WHO

[ursiday]

I'm loving your oc stuff too!!! Do you think we could get some (non spoilery) info about them?

Sure :] Cameron (right) is a barista living in her hometown with her younger sister she and is not thrilled about any of these things. Ari (left) writes articles about paranormal/hokey true crime stuff for a buzzfeed-knockoff type of website after quitting her phd. Theyre both mid-20s and also both gay but Cameron is very closeted

Ari's phd program was in vertebrate evolution, specifically feline phylogenetics, which segues into my worldbuilding that I've also wanted to talk about lol. All the characters in this world are based on cats from subfamily Felinae – basically all small wildcats combined into one sapient species instead of humans. The characters I've designed so far are inspired by specific cats (Cameron is based on a serval and Ari on a pampas cat) but I'm not trying to stick too closely to that since they're all meant to be the same species from a worldbuilding perspective. No domestic cats (furry or animal) but regular big cats are still a thing, basically akin to great apes vs humans. Anthropomorphic cougars and cheetahs are a thing but are extinct, like extinct hominids. Basically my effort to shove cats into a human evolution parallel lol

[transformers-synergize]

synergize mini update

first couple pages of synergize are illustrated/done. Not sure how long it will take for me to finish the first chapter since it's been a long time since I've done a comic, and those were released page by page, not chapter by chapter.

first two chapters of synergize have been nightmares to write, establishing the world, the characters, the basic lore, the main conflict/main plot while also trying to keep it toneally somewhat consistent with future chapters since this is a introduction and I dont want it to toneally clash to much with future chapter and give off a false impression of what synergize will be like. Beginnings are hard, but it's something I have to do to get to the plots/stories I actually want to write.

also, major thing, take everything posted on this blog with a huge grain of salt, the problem with writing, vs planning is things I originally thought would work, sometimes don't, or I come up with something better while writing, or dynamics change as I flesh them out more. I feel guilty for changing things I shared publicly, but as i writes things are bound to change hopefully for the better. The final say on what is truely canon is the comic. Many things on the blog are out of date or could possibly be changed in the future. (Mirage is no longer going to be a part of the starting cast, he's going to show up later, Smokescreen will fill his spot)

still won't be a ton of art for a while, since comic, so here's some ship design references I don't think I have shared yet

[egophiliac]

(it probably wasn't actually Idia's fault)

(or was it)

some quick initial reactions to celebrate Diasomnia Day One! it felt like a bit of a short intro, but oh, what a tasting menu of things to come.

[fromtheseventhhell]

Very funny to me how Stansas present her character as being so interesting and complex because of her vulnerabilities, while simultaneously ignoring those same vulnerabilities in other characters. Dany is sold as a bridal slave and lacks agency throughout AGOT and after. Her dragons are either too young/small to utilize effectively or locked away for the majority of the story. They aren't some all-powerful trump card that protects her from harm. Arya is captured as a prisoner of war, forced to watch countless people tortured and murdered, and then essentially enslaved in Harrenhal with no way to fight back. She has an entire arc of feeling powerless, of being a "mouse", during ACOK. She doesn't have "kung-fu" or the ability to magically fight her way out of every situation, she's a young child lacking physical strength with only the most basic sword training.

Sansa isn't the only female character, she isn't the only young character, she isn't the only character who suffered, and no one is obligated to prioritize her. I'm so tired of Dany and Arya being mischaracterized and having their stories erased to prop Sansa up. "Sansa has kept her dignity" In other words, let's praise her for having a level of security that Dany and Arya don't have access to. She hasn't ever been forced to make a hard decision which of course means that she's morally superior to them. They can't even admit to themselves that her lack of action is due to her own passivity. If it doesn't fit their delusion, they erase it from the story and expect the rest of us to play along. Ask one of them what they like about her character without bringing up her being the ultimate victim, and I genuinely don't believe they'd be able to give you an answer. They belittle other characters more than they talk about her and these takes just scream insecurity/jealousy at the content and development other characters have in their POVs.

[ssaalexblake]

Why is 13's regen abt a white dude and why is 15's regen abt a white dude when do we get rid of that white man that just Cannot let other people have their own moments I swear this is so old, like really, it's a tale as old as time where white dudes are the center of the narrative and universe and everyone caters to them, and I'm so bored of it being celebrated. It's not innovative, it's not new, it's not brave.