#its why that series also only has one good entry

[dukeofriven]

Important Question

Was any Artemis Fowl book after the first one good?

[phantom-sleuth]

Wanted to make a rec post about a bunch of random sci-fi manga i like and hope that others enjoy as well.

Dead Dead Demons Dededede Destruction:

A story about 2 young women in their day to day lives as a giant alien ship looms over Tokyo. A fair bit of the story focuses modern social political issues in Japan and the mystery surrounding the mothership and the aliens and why they are there.

The series will get two movie adaptations later this year.

Dai Dark:

The story mainly revolves zaha sanko and how a legend exist that if one gets ahold of his bones they will have any wish granted to them, and so sanko needs to search through space in order to find whoever put this curse on him and kill them. The manga is made by Q Hayashida and features a very gritty world with very goofy and fun characters.

Battle Angel Alita/Gunnm:

A story mostly about a cyborg with a sense for battle wanting to fin her origins after crashing on earth. The series has 3 entries so far with the third being on hiatus sadly, the 3 series being Alita battle angel, baa last order and baa mars chronicle. However the series has excellent art a very good story and great action.

It currently has a 1993 anime and a live action movie

20th Century Boys

The story revolves around a group of adults who in their youth created a symbol to represent their friendship which is then used by some malevolent character called friend in the future for his own cult and his goal to take over the world. With most of the story being about trying to recall who he may be and how to stop his plot. Its a VERY story and dialogue heavy series, but its all worth it once everything starts clicking.

it has a short sequel series that contains the ending of the actual series called "21st century boys"

Pluto

Made by the same person as 20th century boys Naoki urasawa, its an adaptation of "the greatest robot on earth" story with its own unique spin. Its about the ongoing murders of the seven most powerful robots on earth. It deals in a lot of stuff about the sentience of the robots and their rights.

It currently has a full anime adaptation on netflix.

Planetes

A lot of the story mainly focuses on the struggles and relationships of the main characters with space mainly being a backdrop. Its a very interpersonal story and i can't really do it justice by just describing it so i recommend reding or watching it yourself.

It also has a full anime adaptation.

10,000 light year binoculars

This one is just a oneshot but i enjoyed it so much that i really had to rec it. Its about an alien girl with binoculars that allow her to spy on a boy on earth from her own planet and wanting to meet him someday. The entire oneshot is in color, the art is great AND its short.

Star tripper: Planetarium Ghost Travel

A very comfy manga that only recently stared to get fantranslated. Its about a guy called 303 going to "ghost planets where most of the inhabitants have gone into a deep sleep and turned into trees.

Heavenly Delusion/Tengoku Daimakyou

And finally Heavenly, it has two concurrent plotlines with the first one being about a boy and a girl going through a post apocalyptic Japan looking for "new heaven", while the second is about a group a kids in a sterile facility wanting to go explore outside the walls of said facility.

It has an anime that covers the first 5 volumes.

And those are all my sci-fi recs for the moment!!! Hope someone finds something new to enjoy of these here. apologies if the writing ain't the best i wrote this at like 3 am.

[ponett]

hello i am considering getting into transformers. however, aside from maybe a few episodes of the 2000s show i caught halfway through, a handful of toys i tried to rip the heads off of and i guess maybe the michael bay movies, i know Fuck All about those funny robots in disguise. what are your recommendations for entry points for someone who does not know an autorobot from a deceiptfulcon? i know you talk up the IDW comic series, is that a good place to start? what about cartoons/movies?

(yes i know i could google this but who am i gonna trust more, the transformers lorekeeper or some random screenrant article)

So I love a lot of the IDW comics, especially More Than Meets the Eye/Lost Light, but that continuity is massive and very dense. It's aimed more at adult readers, and in particular adult readers who are already familiar with Transformers. If you wanna just jump right into the deep end, it's a good option. I know a ton of people fell in love with Transformers through MTMTE and its gay robot melodrama with no prior experience. But it can still be daunting, especially if you try to read ALL of the IDW comics.

Right now, the main thing I would recommend is the currently ongoing Image comic series by Daniel Warren Johnson, just titled Transformers. It's the centerpiece of a new shared universe with an original sci-fi series called Void Rivals (which has a lot of Transformers cameos) and some GI Joe comics, but honestly you can just ignore all that stuff and read Transformers on its own. There are 11 issues out right now and they're all bangers. I think they convey the basics of Transformers really well, with incredibly fun action and great character writing to back it up. I'm not sure we've gotten such a succinct encapsulation of why Optimus Prime is such a great character in years.

In terms of cartoons, the main fan favorites are Transformers Animated and Transformers Prime. If you want a 2D animated version by a lot of the same people who worked on Teen Titans and Ben 10, go for Animated. If you want a 3D animated version that's a little more serious and a more conventional take on the story, go for Prime.

There's also, of course, the option to just go watch the original G1 cartoon, if you're a fan of that '80s toy commercial cartoon cheesiness. It's still a lot of campy fun, even if it's not going to be the most dramatically compelling version of the series or the easiest on the eyes. The 1986 animated movie in particular gets referenced, like, all the fucking time in everything else that's come since, so that's at least worth checking out on its own.

The Bumblebee movie is also cute as a little standalone story. That's the only one of the live action movies I would recommend as an entry point lmao

[arkus-rhapsode]

So wasn't expecting to make this Gaming Hot Take of the day but after reading this from Sony CFO Hiroki Totoki I gotta be honest I had to write something

So look, I can kinda understand this stance in a very retrospective sense as he says "Fostered from the beginning." Playstation 1 in particular didn't really make a big distinction between its original IP and its Third Party IP. It's why you had Crash Bandicoot or Cloud Strife as basically the mascot of Playstation when both come from third parties. Compared to the likes of Mario and Sonic who were not only their console mascot, but company mascots respectively.

But by now, Playstation has an undeniable back catalogue of first and second IP that it can either revive or rerelease if need be. Like if we're looking at like multi entry series and not just one offs, by the PS2, Sony had:

Jak & Daxter

Twisted Metal

Ape Escape

Sly Cooper

MediEvil

Wild Arms

Dark Cloud

Everybody's Golf

God of War

Rachet and Clank

And by the PS3 we have

Infamous

Uncharted

Killzone

Resistance

Little Big Planet

Like Sony has their own catalogue that can stand on its own. Its not like they should be struggling now to play catch up.

Now if you read my recent Emio and Mages post, I am very well aware that in the age of modern gaming, a game doesn't get made without a team devoted to it. And with the rising production and time costs of making games, no company can release a hundred games and be profitable. So sadly some IP just do fall by the wayside in favor of others. Guerrilla Games isn't making Killzone anymore, because their efforts are spent on Horizon and Sucker Punch went from being the Sly Cooper guys to the Infamous guys, to now the Ghosts of Tsushima guys.

However, I feel like Sony has had some circumstances that compound this problem. Sony and Playstation are technically powerful machines-they want to fully utilize the hardware they're selling you for hundreds of dollars. It is their brand. However, the downside to this is because of this the rise in production costs, it's now taking much longer to make games that make use of the powerful hardware. We went from being able to release a full trilogy in a single generation to basically one. Its also made worse by the fact that Sony has been very active in shuttering studios and cutting costs. The biggest would be the loss of Sony Japan Studio, who were beloved for their more varied Japanese-y style games. It added flavor to the more Naughty Dog inspired games of the sixth and seventh generation. But now, Sony went all in on being that one big budget release that leaned more towards broader genres that could maximize the amount of sales like Uncharted, The Last of Us, Spider-Man, etc.

With this, a lot of mismanagement, its really made the PS5 era feel very sparse compared to the PS4. Now, I wanna stress this, I actually do not subscribe to the mentality "Playstation has no games." Playstation has tons of games beyond just their first party titles, some are exclusive like Final Fantasy 16, some are just way too powerful to be something that could be played on a switch like GTAV. Heck, I played Bomb Rush Cyberfunk on my PS5 and it's probably the game I've dumped the most time into this year. So yes, even if Playstation's first party offerings are few and far between, you're still capable of playing a lot of good games on this really expensive plastic box.

And maybe that's indicative of the fact that Playstation has always been about selling you the hardware on the basis of the hardware. Going back to the PS1, the main selling points was this was the haven for third parties after Nintendo really burned a lot of developers with the N64, and that this was a much more system than the N64. When you look at someone like Nintendo now, they're hardware is underpowered they live and die by the power of their software that only they can provide and no one else. But the playstation even if its not shooting out a new Jax & Daxter every year, they're still the place you can play something like Final Fantasy or Elden Ring at a really great clip. Perhaps Totoki was alluding to that reliance on hardware instead of software because in retrospect, they never really had that big homegrown system seller on playstation till the PS2 with things like God of War. And now fostering that, has made it hard to have that sort of Zelda or Halo that are so undeniably their companies IP and will move launch units.

But a reliance on just being the place where you can play games at a high fidelity, means that its still got competition from Xbox and PC. So Sony would have to offer a service the others don't and that can be software you find nowhere else. True story, I was genuinely conflicted about getting a PS5 or and Xbox X/S for my birthday because I knew I needed to at least have a strong machine to play with my switch. And ultimately I took PS5 because that was the console that would have God of War Ragnarok and Spider-Man 2. So yes, IP absolutely factors into purchases in my experience. And the fact that this generation Sony has really struggled to put out first party games, really makes that purchase factor feel so much thinner and thinner. When you know-you know Sony has loads of IP (Some that haven't left their respective console) that even a simple remaster on the PS5 could at least hold people over in-between their AAA releases. So to hear their CFO say that they don't have enough IP, gets very disingenuous.

To close this out, I wanna stress something. I don't think wanting to make new IP is a bad thing. Im glad Sony is willing to invest 8 years and millions of dollars into something new. But eventually, we reach a point where this has to be better managed. We have to have some smaller titles that can be released between the bigger ones. We gotta have some variation in the types of games we're getting from the platform holder. And sometimes leaning in on those fan faves for smaller titles would help. Are they gonna sell 10 million units? More than likely not. But if you balance the budget, having something move between 1-2 million units would be acceptable. Perhaps maybe allow more second party developers a crack at using that IP so your internal teams can work on the bigger blockbuster titles?

The PS5 generation has been a pretty all over the map one for Sony, and the more we learn about the thoughts and management behind the scenes, the more aggravating it can become when this platform does something really cool, but then seems to take two steps back. I genuinely can't tell you if I'll get a PS6. But if I do, it will probably not be out of optimism for classic Playstation franchises to return.

[fictional-orphan-smackdown]

Round 2, match 10!

All propaganda and what each competitor is from under the cut

Anthony Lockwood (Lockwood and Co)

Lockwood (he's known by his surname mostly) is the mysterious, daredevil and charming founder of Lockwood and Co., a detective agency specialised in protecting people from angry -and sometimes sort of hungry- ghosts in a world where they're rampant. His agency is starting small despite Lockwood bragging it's the best in London but get more and more recognition as the series progress and the agents composing them meet success (when they're not on the verge of dying). Lockwood has open manners but hid his painful past from his coworkers to protect himself. He and George, the first teenager he recruited, are quite stunned by Lucy, a country girl who fled to London after disaster striked in her hometown. Thanks to her talent, she quickly becomes known as one of the best ghost fighter in London and finds her place in the small team despite having the same determination to hide her past than Lockwood, which draws him close to her, making George jealous, but Lockwood's manifest good skills in leadership and the three of them become fast friends while unravelling secret truths and risking their lives repeatedly

He has a lot of trauma and a lot of pain but he always smiles and always has a warm and polite attitude; he’s so protective of the ones he loves that it overrides his suicidal tendencies; at the end of the series he starts to heal from his past; he’s hot but has only two braincells.

Cubone (Pokemon franchise)

Every single Cubone that exists has a dead mom and I think that's why they're more orphan than anyone else who could possibly be submitted

Cubone is iconic across the Pokémon franchise as being an orphan. It's mentioned that it wears the skull of its dead mother in almost every single one of its Pokédex entries. In Gen 1 games there is even a main plot point about going to Lavender Town's Pokémon Tower, where the ghost of a Cubone's mother haunts the top of the tower, and the player has to calm the ghost so she can move on. There's also an inherent tragedy in the fact that somehow, every single Cubone must lose its mother in order to be a Cubone. So many orphan Pokémon as a result…

Well, it wears the skull of its dead mom

[humanpurposes]

My Heart Belongs to Daddy, part vii (final)

Series Masterlist // Main Masterlist // this godforsaken mess that you made me

modern!Aemond x step-daughter

Warnings: 18+, angst, smut

Words: 9k

A/n: Sorry it's been a month since I updated this but we made it to the end!! Just wanna say thank you to everyone who's followed along, liked, commented on and reblogged this series, I've been so overwhelmed by the amazing responses to this, just all the love 🖤 Also available to read on AO3.

It’s easy to forget just how fucking freezing King’s Landing can be in December. She pulls her leather jacket a little tighter around herself but there’s not much she can do about the cold stabbing at her legs through her fishnets— why the fuck had she worn a mini dress in the first place? It falls a little higher up her thighs than she wants it to and the bust just doesn’t fit quite right, but she supposes she has to commit now. She at least counts herself lucky that it’s not snowing.

She looks down at the pavement as it moves underneath her black boots. There’s her second mistake— one cocktail past her usual limit. Now she feels aware but somehow numb. She finds wonder in everything around her, the glare of colourful lights on the outside of the bars they rush past, the pulsing of music from every direction, the smells of smoke, vapes, and that distinct, sharp scent of winter.

She had met Baela, Rhaena, Jace and their friends at a pub near the train station. Being the last to arrive, she sat at the edge of the table. It wasn’t a big group but that only made her more nervous. The other girls introduced themselves as Coryanne, Jeyne, Jess and Floris, all beautiful, all dressed immaculately. She told them her name and they said a unanimous “hi!” but other than that it was hard to talk to them while they gossiped about people she didn’t know and reminisced memories she had no part in. Even Jace was distracted; he was clearly all over Coryanne and spent the entire evening trying too hard to make her laugh.

So she kept ordering cocktails, a different one each time, downing them in quick succession and waiting for the evening to pass.

She keeps telling herself this was a good idea. She needs the distraction, anything to get her mind off the obvious.

The others are all walking ahead of her, and she has to keep sight of them because she has no idea where Dracarys actually is. Baela keeps looking over her shoulder every so often, to check on her she assumes. She gives her a nod and a polite smile, but when Baela turns around, her face falls back to a comfortable frown. She doesn’t mean to look miserable, but she can’t help it. It must be so obvious that she doesn’t belong with these people. She’s just a stray they’ve picked up out of pity.

They turn a corner and suddenly half the street is taken up with a queue of impatient looking people, all in smart shirts and party dresses. Baela calls her name and grabs her hand, pulling her along after the rest of their group.

“Surely this isn’t the line for Dracarys?” she says.

Baela chuckles and keeps marching ahead.

They walk along the queue for a good few minutes. Suddenly they reach an old building with columns and a bell tower. It looks like it could be a Sept or a museum, until she registers the glaring red lights, the tall braziers marking either side of the entrance and the neon logo of a dragon against a blue flame.

Apparently tagging along with not one but two Targaryens has its benefits. Baela keeps her close and their whole group breezes past the bouncers without being asked for ID or charged for entry.

“Dad’s a co-owner,” Baela says in her ear as they walk towards the front steps. She can already feel the bass of the music rattling in her chest.

There’s a smoking area at the bottom of the steps, cornered off from the street by tall hedges and iron gates. It’s dotted with mostly pairs of people, each engrossed in their own conversations.

As Baela leads her up the steps she notices a solitary figure, obscured by shadows, leaning against the wall with his back slightly curved and his chin tilted down. He lights a cigarette. The flicker of flame lights up the sharp features of his face and his silver hair.

Fuck.

Aemond’s not even a club kind of guy. He hates the dancing and the “shitty” music. He likes metal concerts and late-night conversations, preferably somewhere you can actually hear the person next to you.

A plume of smoke billows from his lips, and for whatever reason, he glances towards the front steps.

After a double take, his eyes meet hers, wide and curious.

She only realises she’s stopped walking when Baela tugs on her hand. “You coming or what?” she says over her shoulder, trying to keep up with the others.

She can’t take her eyes off him. Of all the places he could have spent New Years, why does he have to be here?

Don’t engage.

His back straightens as he takes his weight off the wall.

Let go.

She shakes her head and snaps herself out of whatever trance she’s under.

She’ll just ignore him. As long as she sticks with Balea and Jace, everything will work out fine. Surely.

The inside of the club is vast like the nave of the Grand Sept. It has a high vaulted ceiling and an enormous stained-glass window on the farthest wall from the doors.

The floor before them is a sea of bodies in flashy outfits, moving in time to a low, synthy song. Colourful lights cut through the darkness, giving the faces an eerie glow. A few groups linger around the edges of the room, drinking cocktails and taking shots in booths around glass tables. At the end of the hall, under the stained-glass window, is the bar, illuminated with red lights.

Baela keeps a tight hold of her hand as they all fight their way to the bar. Someone orders for her and the bartender places a shot glass of vibrant blue liquor in front of her. Rhaena screams “Happy New Year!” as the others cheers their glasses together.

She holds her up to the light before she downs it, wincing at the sickly, sweet and sour tang it leaves on her tongue.

Her heart thunders in her chest, confused by the music and the sense of dread pooling in her stomach.

Aemond is here.

She’s supposed to be ignoring him, and she had been doing a good job of it so far.

Until that fucking call on Christmas Eve.

What did he think was going to happen? Six months of nothing, then one phone call and she was going to come running back to him?  

But she had already proved that she can’t say no to him, the night of the dinner party, while Alys and Cregan were only in adjacent rooms. All it had taken was his hands on her hips, his breath on her neck, a few harshly whispered words and the promise of a quick fuck. It was enough for her to give in, consequences be damned.

She looks back at doors on the other side of the room. She tells herself she’s not looking for a head of silver hair, but it isn’t much good lying to herself. One look at him outside a club and she can feel that hollow feeling in her chest, an emptiness that Aemond has always been able to fill so perfectly.

“How could I ever stop wanting you?”

“I just know these last couple of months have been fucking unbearable without you.”

Would he say the same now?

Rhaena screams again. She doesn’t catch what she says, but the answer to that is evident when Aegon and Daeron materialise from the crowd, hugging Rhaena, Baela and some of the girls. Jace’s face hardens and he puts his arm around Coryanne’s shoulders.

Then Aegon’s eyes come to her. “Fancy seeing you here!” she shouts into her ear over the music.

She can’t stop herself. “Is Aemond with you?” 

Aegon glances towards the door. “He went outside for a fag.” He runs his tongue over his teeth and furrows his brow. “How are things with you and your mum?”

She frowns. “Why?”

Aegon’s eyes widen and he laughs to himself to play it off. “Just asking, I thought things might be a bit awkward what with… everything that’s gone on.”

“Everything?”

He pauses. ���Him and Alys.”

“Right,” she says.

He doesn’t say anything else, but he’s looking at her like he’s trying to read her mind.

She hates not knowing what other people are thinking, and it only adds to her growing restlessness. Aemond wouldn’t tell Aegon about them, would he? But part of her thinks Aegon would use the opportunity to be more of a dick about it if he knew.

They find a booth and file in. Jace is clearly trying to avoid Aegon; he sits between Coryanne and Daeron. Baela is polite with both of her cousins and Rhaena is friendly, but maybe that’s just the booze. Either way, Aegon is a charmer, and slots himself nicely beside Floris. Jenye and Jess are all over each other, whispers into each other’s ears becoming kisses to their cheeks, necks and mouths.

She slips off her jacket and sits at the end of the table, alone. It's like being at the pub all over again.

Until she spots someone walking towards their table.

Aemond stops, his eyes only on her. No one else seems to have noticed him yet.

She looks across the table, at the only empty space left.

His chest rises and his nostrils flare. He slowly sits opposite her, keeping his shoulders tense and his hands in fists.

She wishes she had a drink in front of her, if only to have something to do. She moves between having her hands on and under the table, unable to keep her fingers still. She bounces her leg, messes with her hair, tries to focus on fragments of conversation drifting from the others.

Then something brushes against her, under the table. She freezes, but relaxes as she feels Aemond’s leg settling against hers. She glances across at him while pretending to listen to something Rhaena’s talking about. Aemond holds her gaze, leaning against the back of the booth with a solemn look on his face.

She can feel his breath on her hands as he exhales a deep breath.

Baela insists that she wants to dance, and so does Rhaena. They drag Daeron with them and disappear into the mass of dancers. Aemond has to stand to let them out, and when he sits back down his leg brushes against hers again.

It’s so painfully obvious that everyone at the table is coupled up, Jace and Coryanne, Aegon and Floris, Jeyne and Jess. Aemond seems to be trying not to pay attention to any of them. He angles his head in the other direction.

She lets her eyes wander along the tightness of his jaw, the tendons in his neck, and the glint of a silver chain beneath his shirt.

She presses her lips together.

Don’t engage.

Don’t do anything stupid.

But maybe she should have thought of that before the cocktails.

She leans forward on her elbows, but as she opens her mouth to speak, Aemond calls Aegon’s name.

“Drink?” he mimes.

She doesn’t see Aegon’s reply. Aemond’s eyes move over her before he stands and heads towards the bar. Suddenly her leg feels cold at the absence.

A particularly loud giggle catches her attention. She looks down the table. Aegon is leaning into Floris’ ear with a dark look in his eye and she’s smiling, but he’s watching her. His eyes flicker over to the bar, and he grins.

Fucking pricks. The pair of them.

Only when she stands up does she realise how dizzy she is, but she ignores it, and makes her way through the crowd until she finds Baela, Rhaena and Daeron. She grabs Baela’s hands, less dancing, more stepping and swaying to the music.

But she keeps ending up turning her head towards the bar. It’s easy to spot Aemond, he towers over most of the people here, his silver hair gleaming under the red lights.

“I didn’t know they were going to be here,” Baela shouts into her ear, “it’s not too awkward is it?”

The music doesn’t make sense to her. It’s just noise. Everything is just frantic noise, and she can’t stand it. She feels restless, and so fucking angry. She wants to dig her nails into her palms. She wants to cry. She wants to scream.

“It’s fine!” she shouts back, “So fucking fine!”

She looks back to the bar. Aemond is at the front of the queue now.

“I need a drink,” she says, not loud enough for Baela to hear.

His name is a gentle hum in her throat as she gets closer to him, weaving her way through the other bodies in the crowd. She doesn’t care when they tell her to get in line and wait her turn. She keeps her eyes fixed on him.

Until he’s close enough to touch.

She watches her hand reach for his shoulder.

He turns his head around with a sharp look of surprise, but it melts away when he realises it’s her.

He mouths her name but she doesn’t hear it. He brushes his fingertips against the bare skin of her arm and she feels weightless. He’s looking at her. She can feel his heat through his shirt.

Until he withdraws his hand with an irritated huff. He leans into her until their noses are inches apart. Even in the low light of the club his eyes are only marginally blue, and she smells whisky on his breath. “Don’t start this again,” he says over the music.

She scowls until her face hurts. “You called me.”

“And you didn’t pick up.”

Her heart shatters. She thought she had done the right thing, but it seems a common occurrence with Aemond that nothing is ever right.

“It was a mistake,” he says sharply, “a stupid fucking mistake. Just forget it.”

He brushes her hand from his shoulder and storms off towards the front doors.

Panic and confusion courses through her. It feels worse because she’s drunk, she knows that, but it still hurts.

Her eyes start to sting as one song ends and another begins. It’s one everyone in the room seems to recognise.

She fights her way back to the booth and grabs her jacket, slipping it over her arms.

Jeyene and Jess are gone, and Jace and Coryanne have found their way to the dancefloor. Floris and Aegon are the only ones left, her legs draped over his lap.

“Leaving so soon?” Aegon coos.

She doesn’t spare him any of her attention. She tries to spot Aemond as she makes her way to the doors on unsure legs.

What if he’s already left? What if this is it, and he never so much as tries to speak to her again? What if she finds him and he pushes her away?

“Five minutes to midnight, ladies and gentlemen!” a voice booms through the speakers. Moving through the room is like swimming against the current as more people make their way to the dance floor, but she manages to make it to the doors.

The cold air hits her suddenly. It burns in her lungs and bites at her skin. The front steps and the street below her are quiet now, and so is the smoking area. Save for one person.

Aemond sits on a bench, hunched over himself, flicking his lighter, but never lighting a cigarette.

He looks up when she stops in front of him, his lips slightly parted, the red lights casting shadows in the angles of his chin and cheeks, and his nose.

“Are you seriously running away from me?” she says.

His mouth is in a thin line. He keeps flicking the lighter open and shut, open and shut. “You seemed happy enough avoiding me before.”

“Before? Before what? Before you left me in a hotel room?”

Aemond groans and rubs his fingers over his temple. “I’m not sober enough to have this conversation.”

“No, you’d rather ignore me for the rest of your life.”

“Look, I just want to go about doing things the right way—”

“I think we’re way fucking past that now.”

He groans. “What do you want me to do then?” he says, his voice laced with spite.

“Take some fucking responsibility!” she cries, louder than she means to.

He takes her off guard when he stands and steps into her. She takes a step back, and he keeps walking, until her back meets a wall. “And what does responsibility look like, hmm?” He places a hand beside her head leans in further still, until all she sees is the furious look in his eyes. “I called and you didn’t pick up. I try to keep my distance and look at you, you’re still practically begging for my attention.”

“Once,” she utters. “You called me once in six months.”

“And if I had tried before, after the dinner, after I left Alys, would you have listened to me?”

Her head lolls into her shoulder. All she remembers of that day is her mum, screaming and crying, storming upstairs and slamming her bedroom door. She stood there, in the kitchen, hands shaking, tears streaming down her face and her heartbeat pulsing in her head.

Her entire world had come crumbling down. Her mother hated her, and she was going to have to break things off with Cregan, and Aemond was gone. If he had called her then, she doesn’t know if she would have been able to manage a single word.

“No,” she says.

Her heart leaps as he takes her chin in his fingertips and tilts her gaze up to him.

He looks down at her with challenge, his eyes squinted slightly, lips in a smug pout. “What do you want me to do? How do I make this right?”

Her hands press against his chest, hypnotised as it rises and falls with each breath he takes. Then her eyes move to his mouth, that perfecting fucking mouth— it’s her favourite feature of his, she decides, the telling twitches of his lips and the way they feel against her skin.

Aemond clamps his hands over her wrists. “See?” he says in a low voice. “You think you’re so righteous, so perfect, but you’re just too fucking needy.”

She surges into him, grazing his lips with hers before he pulls away.

He keeps a tight grip on her wrists, and stares at her with wide eyes.

Only for him to come crashing into her, returning the favour with his own harsh and bruising kiss. He’s desperate and unforgiving, cupping her face with his hands so she has no choice but to let it consume her.

And she lets him. She lets him graze her lips with his teeth, slip his tongue into her mouth and steal the very air from her lungs.

The faint but familiar taste of whisky burns on her tongue. It’s thrilling and grounding all at once.

When they finally part from each other, he rests his forehead against hers. They glare at each other as they try to catch their breaths.

She can still feel the beat of the music from inside the club, and a voice over the speaker, gearing up for the countdown for the New Year.

“I meant it when I told you I loved you,” she says. “It’s not how I wanted to say it, but it was the truth.”

Aemond takes a harsh breath and runs his hand over his forehead, through his hair. “I can’t do this now,” he whispers.

She leans further into the wall, only to find she can’t get away from him. She pushes against his chest, but all her strength is gone.

Aemond takes a small step away from her. “I’m sorry,” he says, “I’m not thinking straight I…”

She doesn’t listen to him. She can’t, not past the pounding in her head, the retching feeling in her stomach and the crowd inside the club as they start to chant.

“Ten! Nine! Eight!”

“You must have known how much you meant to me,” she says. Her voice is clear and her tears are effortless.

“Seven! Six! Five!”

“And what did you do with it? You left me with nothing…”

“Four! Three! Two!”

“You showed me something I’ve never known and then you took it away, only to drag me back in…”

The world erupts around them. Every single voice in the city screams as midnight hits, fireworks and flares soar into the sky and burst with colour, light and noise.

“And I feel so stupid because I let you do it. But I still don’t understand… why do you have to be so fucking cruel? What did I do wrong?”

Aemond looks back at her with a face of agony. Flashes of green, red and gold glisten in his eyes.

“I thought I mattered to you,” she says.

“You did. You still do.”

Her head must be about to burst. She chokes on a sob and cradles her head in her hands.

She keeps her eyes on the floor as Aemond steps into her, and when he wraps his arms around her, she doesn’t have the energy to pull away.

“I’m so tired.” She says it over and over again.

There doesn’t seem to be a moment where they make an agreement, but she lets Aemond pry her hands from her face and lead her onto the street. He tucks her jacket tighter around her arms while he mutters about how cold it is.

She doesn’t feel the cold against her skin, but she can feel herself shivering and her teeth chattering.

A car pulls up to the pavement. Aemond opens the rear door and ushers her inside. It’s warm inside, and the seats are soft. He sits beside her and she falls into him. She closes her eyes, letting the motions and the hum of the engine lull her to a place between waking and sleeping.

Aemond’s gently shakes her awake when the car stops. Wherever he’s brought her, it’s quiet, and once the car disappears down the street, it’s almost silent.

Something cold lands on her cheek. She brushes it away and it melts under her fingers. She looks up, at heavy snowflakes against the streetlights, blinking them from her eyes as they fall.

Aemond takes her hand and she holds it tightly. The dusting of snow crunches under her boots as they walk, a short way along the street and up a series of steps. He doesn’t let go of her as he takes a set of keys out of his pocket and unlocks the door.

He marches her up a seemingly endless number of stairs before they come to a corridor, and another door. It’s dark on the other side, and it smells like him.

She blinks as her eyes adjust to the lack of light. Tall windows make up most of the outer facing walls, and King’s Landing lays out before them. They must be on the outskirts of the city, given how quiet it is, but she can see everything from here, the lights on Conquest Street, the silhouettes of the Red Keep and the Grand Sept, fireworks and lanterns, and the void that is Blackwater Bay beyond the docks.

Aemond leads her through another door. She winces when he turns on a light, but as her vision starts to settle, she realises it’s a bedroom. She’s drawn to the bed like a magnet, collapsing against the duvet.

“Shoes,” Aemond says.

She kicks her boots off and tosses her jacket on the floor. She curls her face into the pillow. It occurs to her that she hasn’t taken her makeup off, but she’s too tired to really care.

Aemond won’t let her sleep yet. He hands her a glass of water and waits for her to drink a few sips. Then he takes it from her and hands her a t-shirt.

“No…” she drawls, falling back against the bed, “wanna sleep.”

“Please,” Aemond says softly.

She drags herself up, fumbling to undo the zip on her dress. She pulls it over her head and rids herself of her bra and fishnets and lifts her arms up for Aemond to help her into the t-shirt. That smells like him too.

“Better?” he says.

She won’t give him the satisfaction. She crawls underneath the duvet, and by the time the light switches off and the door closes, she’s already half asleep.

The first feeling that hits her is a dull ache pulsing in her head.

Then comes a dry feeling in her throat.

Then a nauseating kind of hunger.

And then dread.

Her eyes dart open; it’s still dark in here, wherever here is.

She looks down at the Pink Floyd t-shirt hanging off her. It’s too broad in the shoulders to be hers.

Her lips feel strange. She trails her fingertips over them and squints, just makeing out the shape of her dress and her boots on the floor.

The memories start to fade into view, like a fog lifting from her mind. The pub, the club, the loneliness, and Aemond…

“Fuck,” she hisses.

She’s still a little dizzy as she drags herself from the bed. She finds her phone in her jacket, on the last legs of its battery. 8:55, 1st January glares up at her on the screen, along with texts and missed calls from Baela, Rhaena, Jace and Alys.

“Fuck!”

She grabs the glass of water on the bedside table and treads softly along the hardwood floor, to the door.

She hovers her hand over the handle. She’ll have to come out eventually, might as well get it over with.

The bedroom leads out to an open living space she doesn’t recognise in the slightest. In the corner there’s a kitchen and a small dining table with four chairs, then the rest of the room holds two sofas, a coffee table, a record player, plenty of bookshelves and by the window, a desk and a prayer plant with a ribbon tied around its pot.

None of the lights are on and from what she can tell, Aemond isn’t even here. The room is lit only by daylight. Beyond the windows, the sky is a dull grey and King’s Landing is covered in snow.

Nothing about the apartment is disorderly, expect perhaps for the extensive collection of shoes and coats by the door, most of them black with the odd item of brown for some variety.

The only photos on display are on the desk. One is of Alicent and Helaena, both in pale blue jeans and white blouses, with gentle smiles their arms around each other. Another is of Aegon and Daeron sitting by the pool at Dragonstone. The final one is of an arched, stone bridge, which she recognises immediately as Roseroad Bridge in Oldtown. It’s lined with statues of famous Maesters, Steptons and members of the Hightower family, and she walks along it every day to get from her apartment to uni.

He has his own place now then. She wonders if he moved in right after he left Queen’s Park.

She resists the urge to run her fingers along the desk, or over the closed cover of a notebook and the ink pen beside it.

Her head snaps towards the front door as it unlocks. Aemond walks in with snow on his jacket, a brown paper bag and two coffee cups in a drinks holder.

He raises his eyebrows slightly. “Morning,” he mutters, closing the door behind him.

She slowly makes her way to the kitchen as he unpacks the bag— eggs, a loaf of sourdough and some cherry tomatoes.

He looks up at her, and places one of the cups in front of her. “Oat, vanilla latte.”

“Thanks,” she says. It’s not quite as hot as she would have liked, but she’ll forgive him on account of the snow.

“Sit down,” he says, nodding to the dining table. “Won’t take me long.”

He plates up scrambled eggs and smoked salmon on toast and they eat in silence. After that he quietly clears their plates. She wonders if he’s scared of making too much noise.

Then he comes to sit back down, with a fresh glass of water and painkillers for her.

He sits rigidly against his chair, with one hand on the table and the other in his lap. She’d bet anything his fingers are restless under the table.

“How are you feeling?” he asks.

She considers for a moment. She’s starting to feel somewhat closer to normal, but the panic has yet to wear off. “Fine.”

She glances around the room. “This is nice,” she says.

“Rhaenys owns it. She let me move in at short notice.”

“After…”

“After I ended things with Alys.”

She hums distantly, folding her arms and crossing her leg over her knee.

“I’m sorry about last night,” he says.

“Which part are you sorry for?”

He angles an eyebrow at her. “All of it?”

She pouts her lips in irritation— a habit she picked up from him.

His mouth quirks. He clears his throat, takes a sip of his coffee and, by the look of it, struggles to swallow it.

“I’m sorry too, for being so careless,” she says.

“No, I should have left once I saw you.” He presses his lips together and taps his fingertip against the table, three times. “And I’m sorry for calling you on Christmas Eve. I don’t even know what I would have said.”

Her heart sinks, but she reminds herself that’s what she should want. “Just a stupid mistake, yeah?”

He shakes his head in disbelief. “Did I really say that? It was actually highly premeditated.”

“Why?” she asks with more disgust than she means to.

He gestures with his hands, as though it should be obvious. “I just wanted to hear your voice again.”

The tension fades from her face. She feels the pull, the hope, the way it crushes her and makes her feel lighter. That’s all she had wanted, as she watched the phone ring, for him to want her, and then she could allow herself to want him back, even though it always ends in misery.

She can still remember what he looked like when they were at Dragonstone, that quiet, reserved kid who spent more time reading than he spent talking. She remembers how excited she was whenever their eyes met or she spotted him sitting alone. She remembers that day he showed her around the house and the gallery. She thought he was going to kiss her then, but he never did.

Maybe he never cared. Maybe was just using her. Maybe she was nothing but another body to fuck.

That doesn’t explain the small things. The hours he spent studying with her, the nights they stayed up talking about anything they could think of, his attentiveness for details, her coffee order, her favourite songs, the way he celebrated her happiness and read her like a book.

“How did we end up here?” she says, “how did we make such a mess of this?”

For a moment he looks like he’s going to reach for her hand, but he stops himself. “I had such a crush on you, when you came to Dragonstone you know,” he says.

“You never said anything.”

“Yeah, well I didn’t think you liked me.”

She tries to laugh but it comes out as a breath. It seems like such a simple misunderstanding for all the pain it has caused.

“I just remember thinking that someone as wonderful as you would never want…” he absentmindedly brushes his fingers along the scar over his eye. “I was different back then; I still had a lot to learn.”

“Aemond,” she says, drawing his eyes back to her, “I thought you were wonderful too.”

“Oh.” He stops himself from smiling and ends up twisting his lips and sticking his chin out in an awkward expression. “Look, I’ve had time to think, and talk this through—”

“With Aegon?”

“And Helaena.”

She tries not to roll her eyes.

“I think I owe you an explanation,” he says.

She leans back in her chair and raises her eyebrows.

Aemond draws his tongue between his lips. “I tried not to think much about you after Dragonstone. You were just Jace’s cousin, I didn’t think I’d have a reason to see you again. And then I knew that first night with Alys was a bad idea. But everything was happening with dad and Rhaenyra, mum was still upset about Storm’s End, and it was just after Harwin got sick… it just happened.”

“Good for you,” she grumbles.

“I’m not trying to play a sympathy card, I just want to tell you the truth,” he says. This time he doesn’t shy away from reaching for her hand. She doesn’t move, and watches as he settles for just resting his hand over hers. “I never meant for things to go as far as they did, but I needed a way out. I needed to get away from my family and Targ Corp. Alys gave me a purpose outside of all that.”

“So you used her?”

“Yes. And she got something out of it too.”

She doesn’t argue against that.

“I don’t know I thought maybe I’d be over how I felt about you. We were just kids, it had been a few years, but then I saw you… and you were perfect. Nothing could convince me otherwise.”

Guilt twinges in her chest. “It wasn’t just you,” she says.

“What do you mean?”

“I kissed you first.”

He tightens his hold of her hand. “But I still wanted you. And we worked it out so well, I just thought we could keep going as we were.”

“Until I fucked it up.”

“No, that’s not it.”

“I did though. I should never have said…” her eyes are starting to sting at the memory. Sprawled out on the bed, naked and not quite satisfied. The empty feeling in her chest as he left her there.

“I couldn’t take me eyes off you at the wedding,” Aemond says. “And then you had one conversation with that Stark kid, and I was losing my fucking mind. I knew why it bothered me. I know how I felt, no matter how I tried to rationalise it. I knew how I felt about you. I always knew.”

She blinks and two tears trail down her cheeks. She can’t manage any more than that.

“I panicked. I didn’t know what it would mean if you felt the same. It just became too real, I—” He exhales heavily, and runs his hand through his hair. “I know this is my mess. I should have stayed away from Alys. I should have been honest. But at the time, it just felt easier to just… let everything happen.”

She had never seen Alys cry as much as she had, that morning when she told her the truth.

“What did you say to mum?”

“After the dinner party? She’d had a horrible night as it was. She said she wished I had defended her more against my parents. I said she should have known what was going to happen before she invited everyone over and that she should stop trying to get involved in my life.”

“Can’t imagine she took that well.”

“I ended up telling her I had rethought my priorities. I couldn’t be what she needed. I said I’d leave Rivers PR and try to patch things up with my family.”

“You didn’t tell her about us though.”

He swipes his thumb over her knuckles. “I didn’t know if you would want me to.”

She takes a shallow breath. “I told her. After you left, I went downstairs and told her everything.”

“What did she say?”

Sometimes she still has nightmares about that morning. She stands in the kitchen while her mother just screams at her.

“She was so angry. It was understandable, I guess, but we barely spoke until I went to Oldtown.”

“You’re at the university?”

“Yeah. She said Oldtown sounded like a good idea. Lots of distance, far away from her.”

“And how has it been, being back home?”

“We talked about it. I think we both realised we didn’t want to lose each other over some stupid guy.”

He half smiles, and exhales. “She called me in September,” he says. “It must have been after you left. She just said she knew. She said I was ‘sick bastard’ and that I should never speak to either of you again.”

“That’s fair,” she says. She takes a sip from her coffee and it’s cold.

“I’m sorry, for everything,” he says. “And you don’t have to forgive me, I just wanted you to know.”

She nods with the smallest movement of her head.

Aemond slides his hand away from her. He leans over his elbows and taps his fingertips on the table again.

She keeps her eyes down as he clears up the coffee cups and follows the sound of his footsteps as he walks to the kitchen, then back to her, hovering over her shoulder.

He takes a slow breath.

“Whenever you’re ready, I could drop you home.”

“Thanks,” she mutters.

“Or if you want another drink, or a shower, or anything…”

She lifts her head and turns herself around to face him. He looks so tired.

“I’ll take you up on a shower.”

He leads her back to the bedroom, handing her a towel from a cupboard, and through to an ensuite with dark tiles on the walls, ceiling and floor, and a shower cornered off from the rest of the room by a glass screen.

She hangs the towel on the back of the door while Aemond runs the water, testing the temperature with his hand.

They turn back into each other.

A hazy cloud of steam fills the room. Aemond’s skin glistens, beads of water and sweat forming along his brow and his neck, but she keeps her gaze on his eyes.

She’s not sure who moves first, but they drift into one another, until their lips meet in an effortlessly delicate kiss.

But it quickly leads to something more intense when she pulls the t-shirt over her head and slides her panties down her legs.

Aemond groans lowly, pulling her into him by her waist, tracing his hands along every inch of her body he can reach. He kisses along her cheek, neck and shoulder as she teases the hem of his t-shirt and his toned stomach underneath.

He moans into her mouth, and she delights in it. “Whose needy now?” she asks sweetly against his lips.

He tears his t-shirt off in one quick movement and surges into kiss her again, cupping and kneading her breasts and her arse.

Then he takes her hands in his, and brings them down to the fly on his jeans.

She grins as he presses his forehead against hers. They both watch as she slowly undoes the buttons and hooks her fingers around the waistband.

She keeps her eyes on him as she pulls his cock free and comes to crouch in front of him, smiling at his clenched fists and tight jaw. He’s already half-hard as she starts to stroke along his length and runs her tongue along the underside of him.

She misses the weight of him in her mouth, his fist in her hair, his praises and the noises he makes as he spills down her throat, but before she can even place her lips at the tip, he drags her up to stand.

“Daddy—”

His usual commanding façade falls to something softer. “No,” he says, “just use my name.”

“Aemond,” she sighs.

He gives her a smug smile and reaches for the side of her neck, tilting her gaze up. “You still on the pill?”

Her breath hitches. “Yeah.”

“Hmm, good girl.”

He walks her into the shower, putting her back against the wall. Her back arches at the cold and the sensation of Aemond’s hands on her hips as he starts trailing kisses down her stomach. He pries her knees apart and teases the sensitive flesh of her thighs with his lips and tongue, edging closer to her cunt.

He must be feeling merciful and doesn’t waste too much time before drags his tongue through her folds.

“Fuck,” he mutters, “missed this perfect pussy.”

It would be embarrassing enough how quickly she comes on his tongue, but what’s worse is just how many times Aemond draws climax after climax from her, circling his tongue over her clit, fucking her with it, then replacing it with his fingers.

Her legs tremble as she feels her slick trickling down her thighs, but he doesn’t need her to stay standing for long. He comes to stand hitches her legs around his hips.

With his face buried in her neck he lines himself up with her entrance and slowly pushes himself inside of her.

She hisses and tugs on his hair at the stretch, but the pain doesn’t last long as he starts to rut into her.

“’m not gonna last long,” he says against her skin, panting with the effort as he picks up his pace.

But she can feel just how responsive her body is to him, just how much she’s missed the feeling of him, his cock dragging through her and hitting that perfect spot deep inside her.

She moans his name and holds him tighter, pulling him closer, urging him deeper.

Her orgasm is a wave of warmth, a soothing relief that just keeps going as Aemond continues to fuck her.

Until his hips still and she feels his cock throb inside of her. His voice is somewhere between a groan and whimper as he comes, and it sends another thrill down her spine.

Carefully, he lowers her down to stand on her own legs, keeping hold of her waist as warm water cascades over their bodies. His eyes don’t stop moving over her face, and she can’t stop touching him, threading her fingers though his hair, feeling along his neck, his jaw, his cheeks and his lips.

He turns her around. The cap of a bottle clicks and he lathers shampoo through her hair, then tilts her head back to rinse it out. Next, he coats it in conditioner, and keeping her back against his chest and his head over her shoulder, he washes her skin with a lavender body wash.

Then he pushes her into the wall by the base of her neck. She braces herself by her palms as he takes a delicate hold of her throat and fucks her again. He reaches deeper from this angle, bullying against her sweet spot.

Aemond keeps a steady pace and kisses the back of her neck. “Tell me you missed me,” he says.

“I missed you,” she utters, “missed how good you make me feel.”

“Hmm, missed being my good little slut?”

She tries to say it back, but all she manages is a throaty moan as she comes undone around him.

Then he washes the conditioner out of her hair like it’s nothing.

After he’s dried her off with the towel, he carries her back to the bedroom and lays her out on her back.

He’s insatiable. He fucks her again with their foreheads pressed together and their lips barely brushing over each other. Every brutal snap of his hips is another step towards a burning oblivion, and his pace barely falters as he positions her legs over his shoulders.

She can feel herself twitching and clamping around him, the coil in her belly tensing and tensing until it’s almost unbearable.

Aemond presses his teeth together and hisses like it hurts. “So tight,” he whispers, “my good girl, so fucking tight.”

“Please,” she utters, “Aemond, I wanna come,”

He frowns in mocking sympathy and grazes his lips over her the sensitive spot on her neck. “I know you do, baby, I’m close too, just hold out for me a little longer, yeah?”

“Yeah,” she says, barely a breath, and she says it over and over again. She closes her eyes so she can lose herself in it all, his cock dragging through her, the wet sounds of sex, the smell of sweat and lavender bodywash, his nose pressing against her cheek as he turns into her, his breath over her mouth, his desperate moans and whimpers…

Her orgasm rises and comes crashing down, until her skin comes alight and her body starts to tremble underneath him.

Aemond lets out a guttural groan as he comes, stilling his hips against her, pushing in impossibly deeper as a warmth floods through her.

He lifts his face to hover over hers. His hair is still damp and so is hers, leaving a cold patch on the pillow that makes her shiver.

Aemond leans on one hand over her and brings his thumb to her bottom lip to pry open her jaw.

She sticks her tongue out, ready and waiting as he trails a slow line of spit into her mouth.

“Swallow,” he mutters, and she does.

He smiles vaguely as takes her legs down from his shoulders and pulls her to sit up, cupping her face in his hands and leaning in to kiss her lazily.

This is how things were supposed to be, she thinks, winter mornings wrapped up in each other, her body settled in a perfect state between bliss and numbness.

Suddenly he’s moving away again. “All fours,” he says.

She rolls over her side and props herself against the mattress on her hands and knees.

Aemond keeps a punishing grip of her hips as he slides his cock into her sensitive pussy, fingertips digging into her flesh as he pulls her into him with every thrust.

It doesn’t take long before her arms feel weak and her wrists start to ache. “Aemond,” she whines, “please, please…”

Aemond pulls her against his chest as he keeps pounding into her. One arm wraps around her shoulders and her chest, holding her against him while his fingers pinch at one of her nipples. His other hand snakes down her body to play with her clit.

“Mine,” he groans against the shell of her ear, “you’re mine and you love it. I’m never going to let you go, never.” As harsh as his voice is he sounds desperate, pleading.

She holds her arms over the arm keeping her in place, helpless to do anything but cling to him and just take it.

She’s lost count of how many times he’s made her come, and this orgasm tears through her suddenly as a broken cry sounds in her throat. She digs her nails into Aemond’s arm to take the edge off as white-hot pleasure surges through her.

Her mind is completely fucked out. Aemond lets her fall back on the bed and spreads her legs, trailing his thumb through her soaked folds and his cum as it dribbles out of her.

And he slips into the bed beside her, pulling the duvet over their bodies and holding her close.

“I might need another shower,” she says.

Aemond huffs a laugh and presses a kiss to her temple.

It’s cold but she drags herself from the bed and goes to the ensuite to sort herself out. She runs herself another shower and brushes her teeth with a spare toothbrush she finds in a basket under the sink.

And when she comes back into the bedroom, Aemond looks at her with a dazed smile and a look of wonder in his eyes. She practically runs back to join him, wrapping her arms around his torso and tucking herself under his shoulder to rest her head over his heart.

“There was something else I wanted to talk to you about,” he says.

She doesn’t reply but he knows she’s listening.

“I’ve been talking to mum and Otto, and I think I might take him up on that job offer at Beacon.”

Her heart beats a little faster, in time with his. Dread pools in her stomach again, eased by the afterglow and the satisfied ache between her legs.

“We’d both be in the same city, away from our families. I could get my own place.”

“And?” she utters.

“We could start over. We could try to make this work.”

Away from his parents and Targ Corp. Away from Alys. Away from the city she’s been trying to run away from.

“I think mum would kill me,” she says.

Aemond shrugs. “She wouldn’t have to know.”

“So what, we go back to keeping secrets?”

“No,” he says, turning on his side to face her. He places his hand on her neck, caressing his fingertips over her skin. “No, that’s the whole point, we wouldn’t have to hide anything in Oldtown. It would just be me and you.”

She meets his suggestion with silence.

“You don’t want to,” he whispers.

“It’s not that I don’t want to,” she says, propping herself up and resting a hand on his chest. “But we’ve made mistakes before. I just don’t think this is a good idea.”

Aemond’s expression shifts. His mouth tenses and his brow furrows, not quite angry, but hardly innocent.

“I understand,” he says, but she’s not sure she believes him.

She pulls herself away from him and swings her legs over the side of the bed, placing her feet on the floor. “I think you should just take me home.”

They fall back to silence. She slips into her dress and her jacket, stuffing her fishnets in her pocket because she can’t be bothered to put them on. She makes sure she has her phone and her keys, and waits for Aemond by the front door.

He’s not far behind her, appearing in a white knit jumper and a pair of blue jeans.

The streets are almost empty, and a good thing too because the roads are thick with snow. Aemond drives slowly and cautiously, not that he’s ever been an especially reckless driver.

The Bluetooth on the car picks up her phone automatically. She tuts as a Lana Del Rey song plays through the speakers.

“Sorry,” she murmurs, reaching to turn to audio off.

“No,” Aemond says, holding his hand over the button. “I like this song.”

She withdraws her hand and tries not to smile. “I fucking knew it. You’re a secret Lana fan.”

Aemond huffs a quiet laugh. “I just appreciate good music. Ultraviolence is a modern masterpiece.”

The weather gives them a reason not to talk for the rest of the way. She keeps her eyes ahead, pretending to be enchanted by the snow, but she keeps stealing glances of him, with minimal movements of her head so as not to draw his attention. She watches his hands as they grip the steering wheel, his legs as he presses down on the pedals, and his face in the reflection of the windshield.

It takes twice the amount of time it should for them to reach Queen’s Park, and he pulls over a few houses before hers.

Once they’ve stopped Aemond sighs and runs his hands over the wheel. He leaves the engine running to keep the heating going.

She eyes the door handle and her fingers twitch.

“When would you be moving to Oldtown?” she asks.

“I start at the end of the month. I’m trying to find a place before then.”

“Right,” she says.

She looks further down the street, but the house is hidden by hedges. Alys should have come straight home after her gala. Most days she’s an early riser, and she doesn’t tend to overdo it on the drinks when she’s working— which to her, is almost always. She’s probably in the kitchen, trying to figure out where in Seven Hells she ended up last night.

She looks back to Aemond. He’s watching her with wide eyes.

“I have my thesis due at the end of the term, and exams after that. I’ll be pretty busy,” she says.

He nods and peeks his tongue between his lips. “If you need anything,” he mutters, “you can call me, anytime.”

“Thanks.”

“And, you know, if you ever change your mind…”

“I’ll call you.”

The possibility seems more and more likely the longer she looks at him.

But she pushes open the car door before she does something stupid.

She follows the footsteps already laid out in the snow. It must be a good few inches of snowfall; the prints are set deep. Thank the Seven she’d chosen to wear boots and not heels.

“Wait—” He doesn’t need to say it loudly, it’s quiet enough that she hears him, even when he barely utters it.

She turns as Aemond slams the car door shut and closes the distance between them in a few strides.

“What?” she utters.

Aemond nudges his nose into hers and cups her cheeks in his hands. Her skin feels like ice against him. Warmth blooms in her chest, and suddenly she’s able to forget that she’s standing out in the snow, in a black mini dress and a leather jacket.

He tenderly presses his lips into hers. They kiss like it’s their first times, with slow and cautious movements. More than anything she just feels the shape of his lips and lets them rest against each other.

This time, when she pulls away for a breath, and those careless words come out of her mouth, barely above a whisper, he doesn’t break away from her. He doesn’t abandon her. He says it back.

It’s terrifying and grounding all at once.

She crashes her lips against his to kiss him properly, tugging at the collar of his jumper and running her hand over the pulse point of his neck.

She knows she can’t lie to herself. As soon as January is done, she’ll find his name in her phone. She’ll say she missed him. He’ll tell her he loves her, and she’ll say it back. Time will tell if it turns out to be a bad decision.

“I don’t think my life makes sense without you,” she says against his lips.

Aemond smiles, with a gentle curl of his mouth and a look of intense excitement in his eyes. “I know, baby. I know.”

Tags (comment to be added to either)

General taglist: @randomdragonfires @jamespotterismydaddy @theoneeyedprince @tsujifreya

Series Taglist: @marthawrites @urmomsgirlfriend1 @aaaaaamond @boundlessfantasy @sahvlran @tinykryptonitewerewolf @arcielee @tssf-imagines @aemondsfavouritebastard @skikikikiikhhjuuh @queenofshinigamis @lost-and-founds @izzydlb @dc-marvel-girl96 @xcinnamonmalfoyx @padfooteyes @castellomargot @pet1t3 @okfashionista @khaothick @babygirlyofthevale

[ganondoodle]

I am sorry to hear that the depression has stolen your spark.

I want you to know that you are the sole reason I gave Skyward Sword a chance. Your art was so beautiful and compelling that I just had to know about the media it came from.

Your art introduced me to an incredible community that years later, I am still benefitting from. Your art was the gateway, and I've always been thankful to you for that.

I hope your spark realights, and I hope you can kick depression right in its ass.

i- i did that????? qoq

yes im reviving old reaction pictures

i hope im not ruining the mood bc .. this legitimately made me tear up and i kept thinking of this ever since receiving the ask-

but bc i cant keep my mouth shut (i apologize if you are already well aware of all this i just .. like to talk i guess), i ... idk i have said this before but i feel incredibly conflicted about demise (am i allowed to like him??? do i even like him when i changed him so much??? am i a fraud fan????) and the game he comes from, i .. dont actually like skyward sword that much, or, not as much as it may seem like (my favorite is windwaker, second is botw), every now and then i even feel guilty for demise being my blorbo tm- as much as i love him im under no illusion what his introduction to the series did, the games lore is not .. great, it seems to have kickstarted the decline of the series writing and completely torpedoed any sort of fandom discussion by making zelda a literal reincarnation of the good tm gods of love and light and peace and everything good tm uwu and pit her against an evil demonnnnn that just crawled out the earth one day (??) and was only evil and bad and dark and hate incarnate an hated the good tm gods bc hes jsut so eviiiil, it gave rise to the utter dissmissal of any sort of ganondorf related discussions (funny how it only seems to apply to ganondorf, and none of the other villains hmmmmmmmmmmmm) bc, while not confirmed confirmed (though the fandom likes to pretend that), hes now widely seen as a reincarnation of demise and thus, doesnt need nuance or be given any grace or thought bc apparently when you say someone is a demon (or its reincarnation, which i dont believe ganondorf is, to be clear) that means its fine to not give them any thought bc demons are just evil tm and thats ok and good writing actually (wat????)

(if you take skysw as canonically how it all went down bc my interpretation makes it all be a fabricated lie so the gods can play their little games, there is no godess reincarnation, that was a lie to make way for an opressive kingdom belivieing itself to be irrevocably good no matter what they do etc)

it also cheapens any of the past entries, all of them have been flattened by this, why disscuss ganondorfs motivation lol, he just be a demon/demons puppet, zelda could never be wrong or do bad things bc she literal incarnation of goodness uwu etc- (and then totk, only the second game after skysw, retreads its points and makes it even worse while ALSO trampeling over that game imo)

i dont like saying it, but i do feel a little alienated even from ganondorf fans (i love him too!!!!!) bc they hate demise, and rightfully so, it feels weird having your main blorbo be the reason your second fav is constantly done dirty, why you cant even talk about anything critically bc 'iTs jUst a sIMpLe fAiRytALe' now and part of the reason the lore in general has gone to shit, and i dont know how much i can talk about that before i become an obnoxious 'well ACTUALLY my blorbo, who is the reason for all this, is ALSO done dirty and im gonna explain away the bad stuff via my completely noncanon reinterpretation-' guy, or if i already am what im doing with destiny is like .. my way of trying to fix it and make it interesting again? though at this point i guess im falling into the category of people who change their blorbo so much that there really isnt anythign left of the og, which worries me alot, though i wonder if thats even possible given how little there is to him in the first place, i so often see viral posts that make me feel guilty or conflicted for the way i work with media, "actually my blorbo did all those crimes and thats good you all who need to explain away the bad things are weak and annoying!!" "people who change their favs until they barely resemble the character anymore should just make an oc instead!!"-

i dont know if i take these types of posts too literally, i dont know when or how they apply, but it always circles around in my head, i know not everyone can like what you do, but i want to work with the material i have in an interesting way, not a puritanical way (or however you call that), its not in my mind every second, but it nevertheless makes me doubt what i do with my fanworks anytime i talk about them-

... this wasnt really the point of the message was it ... apologies, i hope not every ask will devolve into a sort of mini rant ;__; i dont mean to invalidate what you said, (and im not saying skyward sword is all bad, its full of charm, from characters to designs, just the lore is .. damaging) it is incredibly touching bc me or my art having a positive impact on people blindsides me every single time like "WHAT??? IMPOSSIBLE you MUST be thinking of someone else, no way i could do that", when something gets brought up my thoughts just kinda start pouring out, i thought about deleting everything i wrote, but then felt like that wouldnt be as genuine anymore (i am not normal tm after all and im long past a point pretending otherwise) and have wasted another hour for nothing, so im gonne leave it in and hope, pray even, it comes across correctly

q-q

[circeyoru]

hey so quick question.

if Trick’s chosen knows of Us, it make since (both in the sense of fairness and Trick’s general character) for him to just …. Show up at a meeting much to Collector’s dismay.

and all the overlords are just like wut. Cause, Trick is well… trick. He would just show up announced, (not without permission of course, Trick is more lenient when it comes to meeting his chosen it seems, but I feel like Collector wouldn’t be) and just tries to goad us into a fight cause their bored. And nothing is worse than a bored trick.

This is for {Collection of Overlords}, check MASTERLIST for the work

Odd question. Not sure if I got this right. You're basically asking about how the Overlords would react if Trick just shows up to a meeting hosted by Collector/you. (honestly I don't see a question anywhere, just a scenario)

One correction. Trick is not a 'he', but a 'they'. Trick has no gender and same goes for you (hence why it was general neutral). The two of your beings are things that separate from human concept or the religious view of who the world was created. Basically, just saying that the world has balance to continue its being.

Back to the ask.

Never would such a situation happen. Go back to the series and re-read Part 7, I think. Even some trivia from the masterlist for this series, and you'll find the answer as to why.

You and Trick belong to two different realms and stay there, you are not allowed in Heaven and vice versa for Trick. It is impossible for either to enter the realm of your 'weakness'. Simple as that.

The only way you and Trick could even meet up at the same place is because it was neither Heaven nor Hell. Where else would you allow both of your entries? Earth. What happened in Part 7 was you two meeting high, high, high up in the sky with barriers to mask your presence so no aeroplanes or whatever technology would pick either of you up.

Your meetings with your Overlords, even though it appears to be in a space of its own and it is, but it is still in Hell. So Trick essentially has no knowledge or access to it. They can't crash a meeting and whine for your attention.

Anyways. Regarding the Overlords. They have no idea of Trick's being, but would guess a similar force is 'ruling' Heaven in their own way. Needless to say, they would guess that ruling power is the opposite of you, so all pure and holy and nice and kind and all that goodness. They never asked about it and you never told. It's all their guess.

If it's for the sake of fun where Overlords see Trick and your interaction...

Yup. I totally see Trick crashing a meeting out of the blue and declaring war. You know it's a prank (albeit a bad one when in the presence of others), but not your Overlords and the Sins that are watching (spoiler for Part 14 haha). What they do? They immediately stand in front of you as your shields and soldiers, dare not attack yet until your orders.

Trick: Woah! Human- I mean. Demon meat shields!! You outdone yourself!! Clap clap for you. You: (sighing and groaning at the interruption) At ease, everyone. Meet a longtime friend of mine. The True Ruler of Heaven, Trick. Trick: How do you do? I've heard a lot about you guys. Your beloved Ruler is quite proud and prideful of you all. (grins with a menacing and angered look) How I wish you all never existed...

It'll also be quite obvious that Trick is hostile towards your Collection of Elite. Trick is very honest with it, unlike you who would hide your intentions/thoughts. They'd be more on guard since they don't know that Trick won't harm them because that would get on your bad side, and I mean bad side.

However, Alastor would have it the worst because he's mentioned the most and your favourite. Trick would one-up him and put him down from time to time to maybe show you how Alastor wasn't worth your attention.

And it works because Alastor wants to be as perfect as he could in front of you!

Behind closed doors, you'd force Alastor to lay his head on your lap and play with his hair and ears while telling him not to mind Trick. While Alastor is melting, you're thinking how Trick does have their uses and enjoys the moment.

[mistyheartrbs]

vengeance would have been a perfect special if not for doc's death, and i think the reason for that is like. it changes vengeance from a fun sort of "optional" epilogue tv movie (that also doubles as a sizzle reel for andras to pitch a fifth season) to something that irrevocably changes the directions of the characters' lives. if this is the last entry in wynonna earp then doc is dead, wynonna has lost the love of her life, alice grows up without her father. it changes the beautiful ending of s4 - something that was so ruthlessly, defiantly hopeful when it was borne of a genre and a timeframe in which shock value and grimdark character death were the norm, when it was filmed in the middle of a devastating pandemic - into something much more cynical.

now, let me tell you about homestuck.

i love it when stories engage with their role as stories, and two projects that have done that (which also not so coincidentally had massive tumblr followings) are steven universe and, yes, homestuck -- specifically their followups, steven universe: future and the homestuck epilogues/homestuck^2: beyond canon.

steven universe future is a series that posits, "what happens when there's no one left to fight and you have to face yourself?" it's something that existed to tie up the loose ends left by steven universe's hasty cancellation/ending - and so it looks at an action hero's struggles with ptsd when he isn't saving the world anymore. it recontextualizes everything we thought was just another action scene, just another monster fight, just another thing he won with love and kindness and great, great injury to himself, and says, no, this hurt him, you cannot take on the world for yourself, you deserve a good life too. it's in conversation with steven universe's endless empathy and self-sacrifice and doesn't ridicule it but acknowledges that it's a philosophy that you can only hold for so long before you crack.

it's a lovely show that, while much darker than the original series, still ultimately ends on a hopeful note. of course steven isn't going to drive off into the sunset and never have any problems again. he's a person. he's going to drive away when it's already nighttime, and he's going to phone his therapist, and he's going to have good days and bad ones and he's never going to have some clean break from the things that still haunt him but he'll be okay.

the homestuck epilogues are bad, and they're mean-spirited, and they spit in the face of audiences who wanted happy endings for the characters. they're written to mimic ao3 fanfiction, and pretty openly mock the fandom and the people who got homestuck to this point in the first place.

creator andrew hussie thankfully seemed to realize that and changed course with homestuck^2: beyond canon, where they started making it a visual webcomic series again, and it started grappling more directly with homestuck as a story.

the first shot of homestuck^2 is of a spaceship with "theseus" scrawled onto the side. the title itself isn't "homestuck 2," it's homestuck squared. homestuck multiplied by itself. it's a writing team - people who started out as fans of homestuck and are now arbiters of it - with only minimal involvement from the original creator. who determines what is and isn't homestuck? is it the god-creator who wrote himself into the story, then wrote himself being killed off? is it this new writing team? is it you? after all, homestuck itself started with audience prompts. somebody who is not andrew hussie named john egbert. somebody who is not andrew hussie gets to decide how it continues, and if it ends, and why.

"misty, what the whiskey-shooting hell does any of this have to do with wynonna earp?"

what's weird about vengeance is that it doesn't do any of that. and in fact its very existence is antithetical to doc's death speech - it, like doc, is something that's dodged death. it's a followup to a show with one of the most satisfying series finales in recent memory. it's nothing so cynical as a cash grab (as i've seen people on the tag posit) - everyone involved genuinely loves this show. but it's basically a ninety-minute wynonna earp episode. aside from a few brief references and nods to the fans - waverly saying "welcome home, wynonna" - it's not interested in the three and a half years between the end of the show and this new special. it's not interested in whether it should exist, or how long people fought for it to exist. it does explore avenues that the series didn't have time to look into - wynonna's traumatic childhood, the lack of support from the adults in her life - but it's not looking at What "wynonna earp" is. it's not a story about Wynonna Earp (2016-2021), a SyFy Original Series that crafted lifelong friendships and conventions and stories and art and romances and careers and acted as a beacon of hope for thousands of young people during dark times. it's a story about wynonna earp, the character, who doesn't know if she can be a good mom to alice, who hurts the people she loves, who loves those people so, so fiercely she'll literally go to hell and back for them.

and i don't like that her ending is one full of grief. that doesn't feel fair to me.

but that's what season 5 is for, right?

[maniculum]

Bestiaryposting Results: Glugreng

My apologies for posting a bit later than usual -- I was on the road most of the day for eclipse-viewing purposes, so it's already nighttime as I start this. (Update: and also Firefox crashed multiple time over the process of writing this post.) Anyway, we've got another vaguely-described bird, but one that I think has some interesting details.

If anyone isn't sure what this post is about, you can find an explanation at https://maniculum.tumblr.com/bestiaryposting. If you want to see the entry from which the artists are working, here is the link:

And in general you can see all of this stuff as it posts at the tag "maniculum bestiaryposting", assuming Tumblr's search function wants to show it to you.

Art below the cut:

@silverhart-makes-art (link to post here) continues to post very impressively-rendered beasts. Here, since the only physical detail we have about this bird is "white", they've decided to take inspiration from the fact that it is kept by royal households. Medieval nobility did keep birds, usually for falconry, so here we have a raptorial design. And look, it's caught a fish! Good work, bird.

@pomrania (link to post here) observes that cataract-curing excrement is probably pretty valuable and worth collecting, so here we see a bowl with a dollar sign placed under the bird's perch. Honestly my favorite part of this is the very intense, extremely-close-up eye contact depicted in the middle there. Something about the bird needing (or just choosing) to get really up in one's personal space in order to do the curative "looking in the face" thing is charming to me.

@kaerran (link to post here) also went in the direction of "what kind of bird would be hanging around royal households" and landed on peafowl. There are a couple really clever design decisions here: it intentionally has very visible eyes so it's extra clear whether it's looking at you, and the "burning off the sickness" thing is represented as the feathers from its train being shed. (And thank you for including alt text.)

@sweetlyfez (link to post here) went in an interesting artistic direction, I think: since the entry was very clear that the Glugreng is "white all over", she rendered it entirely in thick white paint -- I think the texture is quite cool. Also I love the crown-collar-thing; SweetlyFez notes that she's only seen that in heraldry, and I think that is the only place it really appears. (I've seen at least one piece of marginalia that had an animal wearing a crown as a collar, but I'm like 80% sure that's someone's heraldic device being put in the illustrations for whatever reason.)

@cheapsweets (link to post here) jumpscared me a bit with this one. More very intense eye contact, but this time directed at the viewer. They also made the connection royalty -> falconry, and drew a bird of prey. For more details on their thought process, please see the linked post. I like the very intense eye contact conceptually, but also I keep scrolling down so it stops Looking At Me.

@coolest-capybara (link to post here) has again drawn something that makes me smile -- the art style is of course amazing, and the straight-on view of the pelican just looks so charmingly goofy. They note that pelicans have "so much convenient space to store all your pesky illnesses," and now all I can think of is a medical version of that "Put Baby In Pelican Mouth" post. (And thank you for including alt text.)

@strixcattus (link to post here) was inspired by the bestiary's decision to state that the bird is "white all over" and "has no black parts" in the same sentence. Weirdly specific, right? So they decided to explore in their post why this repetition might be necessary -- regular readers of these posts may recall that Strixcattus writes modern-naturalist-style reinterpretations of these animals. I'm not going to tell you what they came up with. Go read the linked post. Do it.

In fact, you should read all the linked posts, and consider following any or all of the wonderful artists who choose to participate in this weird little exercise.

All right, Aberdeen Bestiary time. A couple people said in their entry that they think they know what this one is, and I am excited to learn what their guesses were.

Now, since this artist tends to draw raptors in a very standardized way -- this just looks like their eagle but all white -- it's probably not possible to recognize the bird in question from this illustration. However, of course, there's a much larger problem in the way of recognizing this species:

This entry is the caladrius, which does not exist. It's another one of those mythical critters that didn't really catch on in the modern era -- or a strange misunderstanding of a real animal, like the salamander was, but honestly those aren't so much distinct categories as far as I'm concerned.

On the other hand, if you have similar Internet Experiences to me, you might have recognized it just now -- as soon as I saw the Aberdeen Bestiary illustration, I had a moment of "hang on, is that..."

The above is from the 2015 article "Two Medieval Monks Invent Bestiaries" on The Toast. You can check it out here:

(The author is now Daniel M. Lavery, but the byline on the linked article still says "Daniel Mallory Ortberg", probably because The Toast has been defunct for several years so nobody is updating these things.)

Anyway, the "bedbird" is indeed the caladrius. I was able to find the image from the Two Monks article by looking through the gallery attached to the "caladrius" entry on bestiary.ca (which has 94 examples, so it's clearly reasonably widespread). The bedbird comes from British Library MS Sloane 3544. And... I'm going to leave it up to y'all whether you think this should end with the "i've connected the two dots" gif or that quotation about the mystery no one thought was a mystery. It's late, goodnight.

[valtharr]

So. Which Ultraman series would you recommend for starters? Also would Shin Ultraman be a good starting point if you have never seen anything Ultraman related?

Honestly, those are both kinda tough questions 😅

Let's start with the Shin Ultraman one:

Shin Ultraman is a great movie, probably my favorite kaiju movie (sorry Pacific Rim and Final Wars), and you need no prior knowledge of Ultraman, mainly because the movie is basically an abridged version of the original 1966 series. So, as a movie, I recommend it, but I'm not sure about it as an introduction to Ultraman. Mainly because - just like Sentai and Rider - Ultraman is primarily a kids show, while Shin is aimed at a more mature audience, which is why I don't consider a great representation of the franchise as a whole. Don't get me wrong, it totally gets the themes and everything right, but the vibes are just different. So, I recommend watching it, but not necessarily as an introduction to the main franchise.

As for which actual series I recommend for a newcomer... well, I should preface this by saying that I've only really seen New Generation series (late Heisei and Reiwa era). The main reason for that is honestly that those seasons are shorter (about 25 episodes instead of the Showa and Heisei 50). But yeah, my recs are gonna be New Gen only.

I think the safest bet in my eyes would be Ultraman X. It doesn't really call back to any previous seasons, and it's pretty "vanilla" in its setup: The Ultra and his host are distinct characters from each other, the host works for an anti-kaiju defense force, etc. It sticks to the "formula" pretty closely, closer than any of the other New Gen shows I've seen... with the exception of one:

Ultraman Z is also pretty by the numbers, and has the distinct advantage of being fully legally available one Youtube, both subbed and dubbed. The main reason I recommend X over Z is that Z leans a bit more into the greater universe of the franchise, with appearances from old characters, one of which actually ends up playing a major role. That said, it was the first Ultra season I watched in full, and it wasn't like I was totally lost, but I would recommend watching Orb and Geed before jumping into Z. Speaking of which...

Ultraman Orb is actually the most recent season I fully watched, and I really like it. The main character is just really cool, and while the supporting cast starts off as kinda annoying, but they grew on me a bit over the course of the show. It's also pretty serialized, with some mysteries that slowly get revealed throughout the story.

Ultraman Geed, like Ultraman Orb, is a bit of a fan favorite. Now, technically, the main villain of the show is a major villain in the greater Ultraman lore, which at first might seem like this would be a bad entry point, but the show provides you with enough context that you can just treat as backstory. I also like that it kinda gives you a bit of "best of both worlds" when it comes to Ultras: The main character is actually an Ultra in human form, but there's also a secondary Ultra who does the more classic "bond with a human host" thing, so you get both common flavors of Ultraman in one series. Also, for what it's worth, I once commissioned a Youtuber who knew basically nothing about tokusatsu, let alone Ultraman, to review Geed, and he ended up liking it.

Finally, I'm gonna shout out Blazar and Arc, the most recent seasons, with Arc's second episode having just aired the same day I'm writing this. Blazar has some Ultraman staples, like the defense team and the human and Ultra being separate entities, but also does some new stuff with those tropes, like the Ultra not being able to properly talk, and the host actually being the head of the show's main defense team. Obviously, I can't say much about Arc yet, but it seems to go in a bit more traditional direction. Both are also available on Youtube, with Blazar having two audio tracks (Japanese and English) that you can switch between, and Arc having separate uploads for its sub and dub

Also, I should mention: Every Ultraman season prior to 2020 is available on BluRay via Mill Creek Entertainment, and from what I can tell, they seem to be region free. At least I had no problems watching them on my German PS4.

[gremoria411]

A question I've been half-pondering since you posted some of your thoughts of G-Witch -- are there any series that you think do particularly neat things with design lineages (either aesthetically or otherwise)?

Obviously in G-Witch, you've got this lovely variety in mobile suit design, with each corporation having a different, easily-identifiable style. But there's also things like how both styles of 'suit in Gundam Wing (Gundams and Leos et al) trace back to Tallgeese, so you have a 'progenitor' mecha running around.

Oooh, that is a fun one. Off the top of my head I can think of around two series that do really interesting things with Mobile Suit Design Lineages, Mobile Suit Gundam Iron Blooded Orphans and Mobile Suit Gundam 00, but Gundam Wing, Witch From Mercury, SEED and the Universal Century in General all have examples worth discussing.

Note: I hit the character limit here, so this post’ll just be part one, and contains my thoughts on 3/4 of the main units in 00. I’ll talk about the fourth and other series in a subsequent post.

Admittedly, most of these are the titular Gundam’s design lineage, but there’s enough grunts that are worth discussing too.

First of all, Gundam 00

I’ll fully admit the above graphic is overkill for what I’m going to actually be discussing, but I think the design lineages of the four main Gundam’s is very very good, because each unit is clearly delineated into a speciality. (I’m gonna define them by their Third Generation Entry, since that’s the ones in the first season of the show).

Exia - Blue, with a focus on close quarters combat (I.E. Swords, to the point its original developmental code was “Seven Swords”).

Dynames - Green, with a focus on long range and sniping.

Kyrios - Orange, a transforming mobile suit that has high mobility.

Virtue - Black and White (sometimes with purple), Initially seems to be the Heavy Weapon Gundam, then later you realise it’s just full of absolute bullshit. It’s great I love it.

The second season, movie and side manga all add to this development line, so you can see how each concept develops over time. It also provides alternate equipment options for the main units, variants on a theme if you will. (I’m going to ramble a lot here, so I’ll identify which unit I’m talking about in bold).

Exia, for example, is the melee Gundam, one of two Gundam’s designed to primarily deal with any traitors to Celestial Being (I should do an analysis post on 00 sometime……, anyway). It accomplishes this by incorporating weaponry specifically designed to get around GN defences which, at the time of its inception, is unique to celestial being (this is why it’s got solid swords in addition to beam weapons). Its immediate predecessor, the Astraea, is probably the most stable of the original second-generation gundams - it’s designed for melee combat and doesn’t incorporate much experimental systems into the mobile suit itself. Because of this stability, it’s typically used for testing weaponry slated for other Gundam’s, such as the proto GN Launcher. This is further evidenced when it’s modified into the Astraea F by the Celestial Being support organisation Fereshte, since it’s the mobile suit of choice for that organisation when circumstances don’t demand a different unit, again because of that versatility. The Exia’s successor is the 00 Gundam (which I habitually just roll into the 00 Raiser, since it’s only around for about three episodes). The 00 Gundam is fitted with two GN Drives instead of the standard one, which should give in a far greater output. In practice, it needs to be fitted with the 0 Raiser, a little stabilisation plane thing, in order to run stably. This becomes the standard loadout for the Gundam, and it becomes the 00 Raiser. The 00 Raiser has slightly less swords than its predecessor the Exia, but makes up for this by incorporating the Raiser Sword, which essentially turns the entire Gundam into a sword hilt. The 00 Gundam’s Variants, the 00 Seven Swords and XN Raiser are essentially the 00 Gundam with even more swords and bladed weapons bolted to the frame (I’d like to specifically call out the Seven Swords for having GN Katars, which is just neat, honestly). As Setsuna’s penultimate suit, we have the 00 Quanta, which dares to ask the question “laser-shooting psychic swords?”, and can also freely teleport, just in case you thought distance was going to make this easier. The 00 Quanta Full Saber is probably what you’d expect by this point - the 00 Quanta with a bunch of extra swords strapped to it. (The ELS Quanta’s not, strictly speaking, a combat Gundam, so I tend to look at it as its own thing). The Exia line starts off basic, but eventually takes the concept of “sword” to greater and more ridiculous levels.

Dynames, is a sniper, but it develops very differently to the other Gundams. The original Dynames and its successor Cherudim were developed for Neil Dylandy, an excellent sniper. However, the Cherudim and its successors were piloted by Neil’s brother Lyle instead. Lyle was not as good a sniper as his brother, and so his Gundam’s were subsequently reconfigured in order to be more effective in large-scale combat - rapid fire rifles and submachine guns as opposed to “true sniping”. So, though the line shares several visual elements and retains a focus on ranged combat, it changes with its pilot.The Dynames was armed rather simply - a sniper rifle and two pistols, with supplemental armour being added. This is likely a direct response to its predecessor, the Sadalsuud. The Sadalsuud is notable for two reasons - it was configured more as an information-gathering unit than a combat machine, and it was notably lacking in armour. The Sadalsuud F incorporated a pinpoint GN Field in order to get around this issue, but the Dynames simply incorporated more armour as a result (likely due to practicality). The Gundam Cherudim, Dynames successor, incorporated missile pods and GN shield bits in addition to its pistols and sniper rifle, with its GWHW/R pack adding GN Rifle bits to the mix, giving the Cherudim far more guns to use. Another equipment pack, the Cherudim SAGA, even went so far as to be a “Seven Guns” counterpart to the Exia’s “Seven Swords” philosophy. Lastly, there is the Gundam Zabanya, which incorporated GN Rifle Bits and GN Holster bits, casting off its original sniping specialisation for a mass battle focus. “You don’t need to be a better shot, you need to shoot more bullets”, indeed. The Dynames line shows the progression from scout, to sniper, to more sniper, to Gundam with a billion guns. This is directly due to the influence of its pilot and the difference between the brothers - Neil’s a Sniper, Lyle’s a Gunslinger and so the line is adjusted accordingly.

The Kyrios is probably the simplest to talk about, since it was piloted by Allelujah/Hallelujah Haptism and was designed to maximise its aerial profile. The Kyrios itself was armed with beam sabers, a beam submachine gun and claw shield, with various optional missile packs, typically used in quick strikes. Its immediate predecessor, the Aubulhool, was barely a mobile suit at all, being essentially a proof-of-concept for the transformation mechanism. Nonetheless, it would also be used as a quick strike craft by celestial being when required. The Arios is essentially the Kyrios but more so - it has a new rifle, and the original beam submachine guns and claw shield have now been integrated into the mobile suit itself. The GWHW/M pack gives it a missile pod and swaps the rifle out for a GN Cannon. The Arios is also unique in that it incorporates a support mech - the GN Archer, which is essentially a smaller, simpler Arios for all intents and purposes (it’s not on the chart, but it was adapted from the Gundam Artemie, the bee-looking Gundam at the top-right). The Arios Ascalon is essentially the Arios fitted with various pieces of equipment originally slated for other units - a GN sword from the Exia, missiles from the Dynames and a GN Launcher from the Virtue. This makes it far more versatile, while still retaining its excellent mobility. It’s another one I’m quite fond of, simply because I find the versatility appealing. That and I think the Arios looks good in red. The last unit in the line is the Gundam Harute - designed from the ground-up as a two-man space superiority fighter. It’s also designed to leverage the abilities of its two/three super-soldier pilots, incorporating the Marute Mode which allows its pilots to fight in-sync (it’s…. Not quite clear how it does this, but 00 runs with the “quantum innovators understanding” stuff quite a bit, so I’m not too concerned). The Harute also incorporates GN Sword Rifles, which are scissor gun-swords (fun), as well as GN Scissor bits and a nice lovely missile container on the rear. Kyrios and its derivatives are largely concerned with doing the same thing - a fast attack plane that’s also a Gundam. It’s a very good, very achievable concept, so it’s neat seeing how the line develops over time. I’d like to note that the Harute is basically a culmination of everything that came before it, but considering I’m quite fond of it, perhaps I’m a little biased there.

I’ll talk about Virtue and other series in a follow up to this post, since I managed to hit the character limit for the first time.

But in essence, I think 00 does interesting things with its Gundam Design Lineages because each unit has a specific role, so it’s interesting seeing how they develop within that role, and seeing how their pilots influence them. The vast amount of other units added in supplemental material further sheds light on the in-universe development patterns and general “goals” of each unit. Exia retains the sword focus, but takes it in more esoteric directions as Setsuna himself moves toward his awakening as an innovator, Dynames undergoes a shift from sniping to gunslinging when its original pilot dies and celestial being replaced him with his brother (which is a very weird process, now that I think about it). Kyrios basically hits the nail on the head first time with its mobility and fast attack focus, with Arios basically just adding armaments, however his eventual understanding with Marie enables the addition of the GN Archer and eventual development of the Zabanya, which raises its mobility to even greater heights. On the other side of the coin, the units seen during 00P and 00F provide context for their successors - what worked and what didn’t, and how they developed.

[emmettkane]

Nameless Raiders Suck (In RPGS)

You know the ones I’m talking about, the random guys in a game that only exist for you to smash, stab, and shoot. “Raider”, “Marauder”, “Psycho”, “Bandit”. Who are they? Why are they here? What do they want? What do they have to do with the story?

The answer is ‘nothing’ most of the time, but why?

I like video games, particularly role-playing games and, if we want to get specific, CRPGS: Fallout, The Elder Scrolls, Rogue Trader, and other notable inclusions. To start though, I want to hone in on Fallout 3 and 4. I’ve played every entry in the series outside of one (shudders), and there is a specific issue that Bethesda just can’t seem to escape: The Nameless Raider.

The Problem

They just litter the place! Guys with no names and an endless supply of bad Halloween decorations! They shoot on sight and do all sorts of unspecified crimes when you aren't looking, so it's okay if you kill them!

“It’s a first person shooter, you need guys to shoot!” I hear you cry. Of course you do! Radioactive wildlife, feral ghouls, and malfunctioning robots all serve as suitable, ethically unambiguous targets. Other people, though?

The problem isn’t that it’s impossible for people to turn to irrational violence, but that Bethesda’s Fallout assumes that they will, and in massive numbers! It’s myopic: humans are no better than monsters, waiting for the slightest chance to break the shackles of civilization and visit sick torture on anyone stupid enough to step outside. They all do it in exactly the same way too, for some reason. It is a world fundamentally afraid of strangers and one uninterested in exploring what actually causes violence, or how to actually stop it.

Some people are evil.

Killing them is the solution.

That doesn’t just open a moral can-of-worms that Bethesda prevents the player from meaningfully interacting with, it also serves as a grand and embarrassing series of missed opportunities!

See, there'd be nothing wrong with this if these games weren't sandbox RPGs, where the goal is to create a believable and interesting world to get lost in.

Why don’t the raiders form proper gangs with names and recognizable cultures? That could really make the setting feel put together! Why don’t they try to rob people through intimidation, rather than jumping straight to murder? What a neat idea for an encounter! Could some of them offer their services as bodyguards or mercenaries? I bet a well-heeled, unscrupulous player character would enjoy having a couple genuine goons at their beck and call.

This problem is persistent in Bethesda titles (Skyrim’s bandits and Starfield’s space pirates), but also in other CRPGs. The Outer Worlds tries to make something of its unnamed marauders in the “Peril on Gorgon” DLC, but even the non-marauder ‘outlaws’ riddling the base game are decidedly lacking in purpose and definition.

The Why

Why do this? If it’s such a great opportunity, why do studios continuously manufacture unnecessarily sentient target dummies?

As simply as I can tell? It’s cheaper, it’s quicker, and it’s what the average player has come to expect. That is to say: most people will ignore it. That’s not good enough for me though, I think they can do better.

The Solution

Bethesda isn’t the only game in town when it comes to sandbox CRPGs, and some studios really work to justify their baddies!

Rogue Trader’s ‘Anver’ gang slots well into the ecosystem of their home station, Footfall, and the chaos cultists you fight throughout the game tend to be involved in larger plots, serving the strategies of your vile enemies (or allies, you filthy heretic).

The Great Khans of Fallout: New Vegas are united by a hatred of the NCR and a kick-ass biker aesthetic. The convicts in Primm are a splinter faction of the better-organized Powder Gangers, and even the small groups in the south, the Jackals and Vipers, are given gang names and spawn within defined territories.

Wasteland 3 delivers a cavalcade of bandit factions of varying sizes and complexities, but they are all named and granted a defined culture: The Dorseys, Los Payasos, The Gippers, The Godfishers, and more.

The How

That's a lot of examples, but how do they do it? There are many factors when it comes to defining a raider faction in a CRPG. Let's examine one in detail:

Fallout New Vegas, The Fiends.

Just to the west of Vegas proper live a group called The Fiends: too poor for the strip, too violent for Freeside, and too wild for The NCR. These dispossessed stragglers have clung together under a small number of tough, cold-hearted, and downright cruel leaders. Strength is power, and the only way for the members of this group to survive is to exercise that power by robbing travelers, stealing what they can, and killing what they can't. This is their uniting purpose, their shared history.

They fashion armor roughly out of whatever they can find, mostly old fabric, scraps of metal, and rubber. The aesthetic is unified by a cow-skull on the helm of each warrior meant to signify their brutality and indicate their belonging in the group. This is their uniting appearance.

Their fortresses are repurposed from the old world and decrepit, ill maintained. you won't find a fiend outside of their stronghold of vault 13 and a handful of outposts, plus the regions surrounding. This is their defined territory.

Combining these factors, (faction purpose, aesthetic, and territory) it becomes clear to a player when they are fighting fiends and when they aren't. Their crimes are known, their sins are tallied. Quests which take aim at The Fiends are unique from quests centered on other outlaw factions, and this clarity makes contact with The Fiends special. Crucially, this attention has been paid to every outlaw faction in the game, and you get a unique encounter no matter who you're fighting.

The end result is a world that lives and breathes. Even if you choose to play as a righteous justiciar who puts down marauder scum on-sight, never interfacing with these groups except at the barrel of a rifle, the subtle differences give weight to that decision. After all, who cares how callous or vengeful your character is when your targets are just that? Targets.

So What?

That's just it! Games like these, sandbox RPGs, thrive on having worlds you can fall into! The bigger story matters, the style is important, but the details are what create that sensation. Raiders can just be targets, most players won't consciously notice the wasted potential, but imagine if they weren't. Imagine getting out-played because you didn't realize you were up against a more elite gang, or winning out because you did your research and came prepared.

Imagine pitting two tougher groups against one another so that you could pick through the wreckage, or joining a weak gang to build it up into a real powerhouse. Imagine softening one group into upstanding mercenaries, or smashing them and driving them from their territory.

Imagine what these groups could be like, and then imagine making them that way.

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Thank you for reading! If you liked this essay and want to get more of my thoughts, follow me on Tumblr or Ko-fi, or wherever else. and if you want a say in what I talk about next, join up as a Bunker Goblin for just a buck a month!

[placegrenette]

On 5Miinust (+ Puuluup) and the pleasures of sticking idol pop where it (supposedly) doesn't belong.

I haven't been around much lately, y'all. Partly because my dudes have also not been around much, although ZaQ continues to post a series of videos on the ARTJAQ channel, teaching the audience about... something. I continue, in turn, to not understand Kazakh. Throw in increasing disillusionment with K-pop (I guess now we know why GFriend was so abruptly shitcanned, though the knowledge doesn't make me feel any better), a general post-October-7th discomfort with most online pop-music discussion spaces, and work to get done at home, and Tumblr just hasn't been a particularly rewarding place for me lately.

I didn't think Eurovision was going to be a rewarding place for me this year, either. And then Eesti Laul happened.

It's like some divine imp was watching and saying to themself, "You know what Jessica needs? A pop-rap group from a former Soviet colony whose members love video games and refuse to take themselves seriously and release lots of goofy content that sorely lacks English subtitles. No, another one."

To clarify: the description in the previous paragraph only refers to four of the six people making up Estonia's Eurovision entry this year. The two guys in the clip with talharpas are the respected "zombie-folk" duo Puuluup, who play world music festivals and draw their own album covers and seem like a very fun and intelligent duo. They somehow have fallen into league with 5Miinust, a four-member (previously five) group that has been around since the mid-2010s. To the best of my knowledge 5Miinust have never been accused of being Satanic and/or gay like Ninety One have, but they are either a party group, a hip-hop group, a boy band, a bunch of frat bros (see this album cover), or a very savvy business collective whose members include a former advertising specialist and a trained accountant. Or, most likely, all of the above at once.

The 5Miinust / Puuluup collaboration by itself is charming enough, and if you want to know more about how it came to pass, I direct you to Overthinking It's very good video on Estonia's entry. And "Nendest Something Something," as @sole-cuore-amore-e-droga calls it, is the best kind of fun: chaotic at first listen, carefully constructed subsequently. I don't expect it to do well in Malmö. (I think "Europapa," which is also a seemingly chaotic song that turns out to have a lot more going on than its bouncy surface would first indicate, will win overall.) And I don't really care. I'm not sure 5Miinust and Puuluup care a huge amount about the scoreboard either. They've already recorded a full album together; they seem to be having a good time making silly videos for social media. They'd be my winners even without the added bonus, which is that these guys are absolutely giving idol-pop goodness.

I mean: go watch that Eesti Laul performance again. With the exception of the bridge, each performer gets his own solo time, a classic idol-pop move. There's choreo! And the styling: everyone shirtless under a suit jacket, but each suit jacket tailored slightly differently—that is such an idol-pop live-performance look. I cannot be the only person who clocked that Korea's suit is cut the same way as Nine's for "libidO" live stages, just more conservatively.

And the deeper you get into the 5Miinust rabbit hole, the more idol-pop-esque goofiness you find. Drag performances? Yep. Live radio performances with gimmicks? Here they are stripping to "Vamos." Super-dramatic award-show performances with loads of backup dancers? Here they are at last year's Estonian Music Awards. Do you need to learn the point dance? 5Miinust and Puuluup will combine forces to teach you the point dance.

And yet, talking about either (and both) of these groups as idols is a gloriously stupid idea, because "idol pop" suggests a willingness to subjugate themselves to audience demands that neither 5Miinust or Puuluup, for all their combined marketing skill, have. Idol pop historically depends on hierarchies—performers deferring to management, and, in a different way, to their audience—and that's not how 5Miinust or Puulup work. When I wrote up a guide to who's who for /r/eurovision, I said that Päevakoer is 5Miinust's maknae, and it was a joke because I'm pretty confident no one within 5Miinust has ever cared for one second who's older and who's younger. Just the fact that two different groups with a decade between them found creative inspiration in happily treating each other as equals gives the lie to the idol-pop framing. Nobody's bowing to Marko and Ramo. The whole idea is so far from how these particular performers relate to each other as to be nonsensical.

Which means: idol-pop goodness without stifling hierarchies; idol-pop goodness by people in charge of their own careers, who post goofiness on their own terms; idol-pop goodness combined with musical experimentation born of mutual respect. YES. YES. SIGN ME THE HELL UP.

(If it doesn't go without saying at this point, I would give a lot for my new faves to somehow meet my existing faves. Ninety One might not have enough English comprehension to make the meeting work, though. I think 5Miinust's ex-member Gameboy Tetris might speak Russian; whether he wants to speak Russian would be another story.)

I got lucky, and found people also willing to enjoy the 5Miinust-and-Puuluup-as-idols ironic glee. @sole-cuore-amore-e-droga really kicked things off by making that awesome lyrics video, and from there we got a line distribution video and a logo design for our fandom (Estoners) and photocards and a fanchant and a lightstick design and a "Gangnam Style" mashup and chibi art and then more chibi art. It has been one of the highlights of my past month, being able to giggle unreservedly with strangers. I haven't been able to do that in a long time.

Eurovision happens in two weeks, and then there will inevitably be a dropoff in activity, no matter where "(nendest)..." places. Without the Eurovision framework (and the English-language content that comes with it) I suspect most Estoners will move on. I'm still going to play the album, though, and keep an eye on these guys. Any chance to expand idol pop into more humane spaces, I'm going to take, no matter how silly it seems.

[notapplicableinformation]

Appraisal of the Character designs in Super Paper Mario

There are an array of attributes from this game that I favour, one of which being how the designs are so non conventional to the general Mario design, yet are able to create very refined impressions of the individual characters in the story. 

Super Paper Mario has a unique style exclusive to this entry in the paper Mario series, the geometric design is one I find charming, and well utilised, even though it contrasts so very heavily towards the more smooth traditional Mario characters.

One way I believe that Super Paper Mario’s design is well crafted would be through the implementation of Shape theory to create intricate impressions of its pressing as well as original cast.

Shape theory generally states that: 

Circles are generally used to convey organic and natural shapes, and are generally used to evoke welcoming and approachable feelings. Squares are generally used to evoke trust, support and reliability, whilst triangular types of shapes are used to evoke a sense of intellect , unpredictability or fear. (Of course this is just the surface level, these shapes can be used to allude to entirely different impressions and serve different purposes across different contexts)

In prior Mario titles, generally, the designs would be lenient on a more smooth tone, even for the antagonists. (Bowser is generally not presented as an overly intimidating character, especially not really in the RPG series, even when he’s doing something evil, he lacks this sense of REALLY being taken seriously) The smooth tone of the characters enlightens the mood and provides a sense of consistency across the designs in the franchise, but this game deviates a lot from the general design basis of the Mario world, and I think the game does a good job at achieving this.

The best example of this I believe would be the designs of the Count Bleck team. 

The designs are all very visually distinct, all being of different proportions with a minimalistic amount of detail to convey the personalities of the characters quite well. The Count Bleck team are built with mostly squares, which helps enhance the stability and trust visually that the minions and Count Bleck have with one another. This is an interesting constant for the antagonists except for with Dimentio. (Mr.L doesn’t count, he’s Luigi.)

Shape theory provides the visual incentive that, by design alone, that there is something off with his character. He’s not quadrilateral like the other minions and is far more angular, visually implying that he may not be as loyal to the Count as the others. (His angular design also serves as a great dichotomy towards his nonsensical dialogue, the angular design contributes towards making Dimentio a more intimidating threat. The manga takes a different approach with his design, changing it for a drastic lack of edges, which changes his impression drastically to me through design alone.)

I also like that the villains have a very distinctive palette that works well with one another.

(Funnily enough, one of the only annoying parts I have with the colour coordination is why they didn’t give Mimi either different coloured legs/arms or why they didn’t give them an outline, as she looks like a floating torso and head when in the dark Bleck meetings, ha ha)

The main and really only “ issue” that I do have with the geometric designs would be that of the scattered NPCs, but I don’t think it’s worth noting too much. The previous titles poured more emphasis to the design of the NPCs as they were games predominantly about the adventure as opposed to the destination. Thousand year door implores adventure, and uses very versatile and diverse character designs to immerse you into the worlds you explore. Super sticks to pouring its efforts into the story as opposed to really the worlds you explore. The NPCs being a bit…uninteresting, flat if you will, may have been to prevent distraction of the player to the key goal of the story, and the key narrative between Bleck and Tippi. 

Overall, I love the design of this game and think it’s very original. I haven’t seen many geometric styles utilised across media, but I think this is very well done. 

What are your thoughts on the designs of this peculiar title? Have a nice day!

[symphorine]

im excited abt the characters and the new stories and ive always loved the setting. i still want to play veilguard. but im deeply disappointed by the way past choices wont matter in a "your choices do matter" game series and i think thats pretty normal. even expected. i really dont agree that this approach was a good one, both as a fan and as a writer. saying that you only pulled forward into veilguard choices that you could "do something interesting with" and that "the rest we took care not to invalidate" irritates me a lot.

not everything has to be cool or interesting or take time! codex entries, one or two line comments, minor cameos and npc interactions that refer to (or are based upon, e.g. romance choices or what some characters went on to do after previous games ended) choices you, the player, made in previous games, is what makes it all feel alive and connected! you lose nothing by doing that! for new players you paint an interesting picture of a complex world; for returning players you acknowledge what they decided to have happen. in, once again, the "your choices matter" game series.

and like i said in previous tags, "not invalidating" by just avoiding or erasing any mention of past choices or their consequences feels incredibly cheap. all of a sudden my world isnt a web of characters on their own paths, its just a blank slate that someone put crude toys on. im being forced to leave behind what i was supposed to be able to bring. maybe its expectations that i placed on the game with no information but, once again, in the "your choices matter" game series, and considering we very much could do that in both da2 and dai, i dont think its unfair expectations at all.

is this more complicated to implement if you ask the player to recap it all directly in the game? yeah! but why discard the keep in the first place? it's a good tool for it and i think it would have been very easy to make it less dependant on an internet connection if the concern was to keep davg entirely offline. would also have been easy to offer one or several worldstates to pick from in game for new players. is the problem that the keep works in ways incompatible with veilguard? its essentially a bunch of prettified dropdowns. you can change that. you can recreate it easily in the game even. you know exactly what files it would have to ingest for worldstate imports, that makes it so much easier as well.

idk it really leaves a bad taste