#just once I would love to have a fantasy religion that is nuanced

[berrywinkle]

«Can I have interesting and nuanced depictions of religion in fantasy?» I asked fantasy authors.

«Fuck you,» said fantasy authors, who proceeded to write the religious groups in their books as a group of oligarchs who rule the world from the shadows, violent warmongers from the desert, and strict patriarchal inquisitors who torture and kill heretics without hesitation.

[bonesandthebees]

okay! hello bee! i have decided to collect all my thoughts here as i near the end so here i go!

okay first of all, i am not famously a fantasy enjoyer though recently i read six of crows and night circus (night circus kicked me into fantasy gear) so i decided to tackle this! i am the kind of person who requires a book to be fast paced if im going to get into it (like i never got into harry potter because the beginning was boring) and priory did just that for me it was constantly moving and that is exactly what i needed. now while i loved it and it was amazing, i can recognize that the fast paced nature made it so that things feel a tad underdeveloped and when i think back. i love it all in the heat of the moment, though stepping back i can say that due to the nature of how the book was written a lot of things can feel sort of rushed for someone who is reading it (it didnt feel rushed for me but i can see how it would for a lot of people and how it might if i read it again under circumstances in which i took my time). either way i adored it, i liked the switching povs, i liked the politics and the exploration of religion and the questioning of all someone has known. i like how she broke typical gender stereotypes and introduced lgbtq relationships in ways that didnt make it so scandalous that they were gay but more so just because of status. i like how there were platonic relationships especially between males and females where they didnt once have a sort of unrequited love situation because while those do happen, so do these platonic relationships where people are just family to each other and have never been anything more. i am living for women training to be soldiers/warriors though i wish we got more of tané and her training or just more time of her before her dragon got yoinked cause i like her wish she got more screentime! anywho speaking of tané i do like her ending i think it opens the door for a lot of possibilities and that it basically is saying that her story is not yet over! anyways this has gotten far longer than i intended for it to be that is /my/ bad. i hope you have a good day bee, thank you for the silly book recs i have now sufficiently fallen into the realm of fantasy books

⁃🪿

I definitely understand what you mean by saying some things felt fast paced, but also I think it's a testament to how much goes on in priory that some things can still feel like they needed more words when the book is already 800+ pages long. personally I'd say there was only one moment that felt actually rushed to me and that was the big final battle, but I was skimming through the authors old tumblr and she said that originally it was longer but her editor convinced her to cut it down, which was a decision she came to regret so I don't blame her for that one

yes yes yes I loved all of those things. it's so refreshing to read about a world where there's no question about women being warriors or queens or lgbtq people/dynamics are completely normal. like, it's not exactly a world completely free of homophobia or sexism when you consider how every berethnet queen is basically destined to be a baby machine to pump out the next queen in line, but those themes are explored in a much more nuanced and subtle way which I really adored

also I agree I wish we'd gotten more screentime with tané and nayimathun because I loved their dynamic so much, and all of tané's training was SO interesting I just loved everything with the miduchi dragonriders

I'm reading the prequel to priory right now and it goes so much more in depth to so many of the different cultures and groups we see in the first book. I'm in love with it so far I definitely would recommend it if you would want to see a lot more of that kind of thing in depth

[olderthannetfic]

Okay this is just me talking into the void (your inbox) but if anyone has ever dealt with this, I would love to know how.

How do you handle a friend who has good intentions, but whose actions bleed right back into racism, sexism and (at least from my standpoint) offensive LGBT stereotypes?

For context, I'm queer, mixed race but very white-passing. This friend is technically the same, except not AS white passing in terms of skin color and appearence. I grew up with the non-white culture I am mixed with. I have somewhat of a grip on the language and the culture is reflected in my lifestyle. This friend is not like that. He was adopted and he grew up in an extremely fundamentalist religion.

Although he is very against the church now, the tendency towards black and white thinking is still there. He's worldbuilding a fantasy story and I'm proofreading. It's painful to read.

There are characters who are coded as my (our?) own race, but there are a lot of misunderstandings with the language and the realities of colonial history. There is also a tendency to equate "anything foreign" (non-white) with "sexy" and it feels uncomfortable to me.

There is a genuine desire to empower women and queer people in these stories, but in execution, what this effort really amounts to is incorporating all represention as overpowered Mary Sue types who can do no wrong. And justice comes in the form of a conservative white dude getting dunked on every once in a while.

In fact, in terms of character building altogether, there really isn't any moral nuance. Everyone is either intrinsically evil or intrinsically good. And if a Good Person does a bad thing, there's a long and carefully reasoned out justification for it. If a Bad Person does a bad thing, it is simply because they are Bad People. There's no nuance, no humanizing reason for those bad deeds.

This person is so careful and passionate about being a good person, that if I outright tell him that his writing feels racist or homophobic to me, it's going to break his heart.

I just don't know how to begin to explain that some of these things feel offensive, that it's okay to give "victimized" minorities some moral nuance, and how he's not really addressing the issues that he's trying to address.

Our worldviews are too fundamentally different. From his perspective, morality is black and white, and any Good Person who is worth being friends with would intuitively follow this same logic. (We grew up together, though. We're attached. This isn't one of those internet friend situations where people cut each other off the moment someone has the wrong opinion.)

It is a very awkward situation. I have no idea how to sincerely connect with him on this issue. For lack of a better term, there's so much obsession and anxiety around being "politially correct" that there's no room for nuance.

--

OH NO.

God, that's my first thought. I am so sorry, anon. I don't think any of this is going to go well, though maybe a reader will have more relevant experience than mine.

--

In case you don't get other answers, and for what it's worth, here are my own thoughts:

Fantasy worldbuilding is always a minefield. Hell, critiquing friends' work is a minefield.

I don't think there's any winning this one. You're obviously not dropping the friend, so you're going to either have to make him uncomfortable on purpose sooner or do it by accident later. His writing sucks, but this isn't really about his writing. Your world view will come out eventually no matter what you do, and he's going to struggle to reconcile his shitty views of Good People with you, a friend he likes who does not do things the same way.

I am a bland-ass WASP in the US, so my experiences are more "Uh, friend, is there anything too horrible in this manuscript?" and less from your current side, but I guess how I would approach this would be as a problem of weak writing. And it is a weak writing problem. The work feels homophobic and racist because it's cliched and flat.

You could try to make the political realization more palatable by hiding it in less confrontational writing advice and using the language of the latter.

Tell him that you find the characters a little flat and wish they had more of an arc. Tell him that you wish they had more internal problems to overcome instead of only external ones.

Tell him that you feel like the damage left behind by colonialism often fucks people up so that they do bad things out of trauma and you feel like making the stories reflect this would deepen his writing.

You could say that the world building makes this culture feel very Christian with a black and white view of morality and explain how you perceive the real world culture it's riffing off of and what that morality would look like in this fictional setting.

Hell, tell him that being an example to the community 24/7 is exhausting, and it's hard for you to relate to these overly perfect characters because they feel like what you're supposed to be and not who you really are.

Are there any writers doing similar things whom you do like? You could refer to some of them. Maybe he'll take a rec and absorb some of the points without you making a more explicit big deal about it. (I mean... I'm not optimistic, but the more gradual and self-driven these revelations are, the more likely your friend will come around to your way of thinking without it being some soul-destroying trauma.)

One thing to keep in mind is that he is currently hurting you. I know you don't want to hurt his feelings, and maybe his devastation over finding out your honest opinion would be a lot worse than your discomfort reading his stories, but he's not totally blameless here. You're his friend, and he's making things awkward for you. He wouldn't want that if he knew.

Just letting him wander the world causing harm while trying to do good is not kind to him in the long run either.

I wonder also how much of this is a fear of rejection, whether that's for an insufficient connection with his heritage or insufficient ~correct~ political action. He might ultimately be a lot happier if he could accept that you find his first draft kinda shitty and still love him anyway.

[brokenmusicboxwolfe]

Excuse me for venting again. Feel free to skip it.

So tonight I got an e-mail from a guy I met at the convention. I’ve never met anyone at a con that sent me an e-mail later. This was a “big deal”.

For a moment I was delighted. This would be someone local (well, regional anyway) AND someone I could talk geeky stuff with. Heck, maybe we could even end up friends!

I try not to get my hopes up, but I can’t help myself. I constantly grab at hope, despite trying to stop myself. Hope just leads to hurt.

Anyway…

I read the e-mail. Turns out he wants to convert me. He even had a list of nut job churches near me that I “should” think about joining.

Oh, to be fair he probably means well. The idea someone around here might not be christian probably never occurred to him. If I had a dollar for every time someone said about my loneliness or difficulties “Just join a church” I wouldn’t be worrying about paying my photo storage.

But it still pisses me off. They don’t respect me! I respect them. Never ONCE in my life have I said to someone, “Your religion is utter bullshit! How the hell can you literally believe in mere fantasies dreamed up by humans!! It makes no sense at all!!!!” But they feel fine find fault with me. Hell, I grew up with folks saying that atheists are all evil, secret devil worshipers (not getting the whole no religion thing), and must never be trusted….only to shock them by saying I am one . (Technically I’m agnostic, but don’t try explaining the nuance of that ‘cause they never get it)

This dude may be well meaning and mild compared to the insults I’ve gotten over the years, but it still hurts.

Look, I really don’t mind the religious. Many people I’ve loved are religious. My grandmother was a devout southern baptist. I’ve had friends of all kinds of religions. And we got along fine. We agreed to disagree and let each other alone about it.

That’s all I demand. I want to be respected, to be accepted for who I am. I am not wired for religion, and don’t see it as a flaw to be corrected. It’s my nature and I am content with it. If you try to demand I change, that I force myself to, if not believe then lie about it, to pretend I believe, then you aren’t really my friend and you certainly don’t love me.

So know I need to write the guy back, politely thanking him despite being annoyed, and letting him know I will not now, nor probably ever, have any interest in joining those churches. I must be true to myself.

And that will be that. No geeky conversations. No friendship. I expect he will have trouble processing it, my flat rejection of his idea. Well, I’m disappointed too.

Are there no people in eastern North Carolina that are both geeky/nerdy AND aren’t proselytizing christians?

**sigh**

And this is why I will die alone, the ultimate nail in the coffin of my social life: I’m an agnostic in the rural southern bible belt.

Honestly, I used to hope. I’ve spent decades hoping. I’d find friends, and maybe even love. I’d at least be as lucky as my parents were. Don’t worry, it will happen one day. One day.

And then the days start running out.

It’s my own fault really. I cared about my family too much to escape when I had a chance, just because I thought they needed me. I should have realized I was sacrificing any opportunity to have a social group to belong to. It would have been hard enough in the greater world, being a weirdo like me, but in a hick town it would be impossible.

I guess I shouldn’t care. No one is owed friendship or love or community.

I can survive like this. I have for years, just me the animals, the woods, my fantasy worlds, and the never ending struggle for survival. And when the day comes that I can’t survive like this, well, we all die in the end. Loved or outcast, it makes no difference.

So I’m lonely. What else is new. It’s a chronic condition, like my flat feet or bad lungs. There is no cure, just distraction and endurance. Good thing I am good at both….

[webcomixwastaken]

Disc world flowcharts please. I need to know where not to start. thanks

Oop sorry anon that I was very out of it [by it I mean tumblr] the past few days but I GOT YOU.

Except my flowchart is in the form of a Lot Of Words, so buckle up buddy.

So, let's start with my own Discworld journey. I started with Mort which is the first book in the "Death" line and the fourth in chronological publishing order. Which I think is a Not Bad place to start because it's still quite early on so it doesn't reference too many happenings in the overall universe, but Pratchett was already in the groove of things so he understood his series' vibe a lot better. (Note: I read Colour of Magic VERY late in my Discworld reading game and I'm glad for it.) The whole point after all is to give Death a little bit of personhood. And as a character who pops up quite frequently in all the other books, it's great to get to know Death well so you can greet him like an old friend... like, on the page. Not actually. At least, I hope. The rest of this line are just some crackin' great stories and if I remember correctly, I have teared up if not loudly sniffled at least once per book. Especially when we get Susan’s introduction in Soul Music (I’m also always a sucker for band stories). Loved Thief of Time too though but maybe it's just because it's vaguely linked to Night Watch; more info below.

But if you're the type of person who likes some good ol' plot then the City Watch is for you!! Guards Guards was my own second DW read, and from there I actually gobbled up the entire City Watch line because well. I like plot. But this is Discworld so you do still get some great character development, both with individual stories and over the course of the series. The City Watch is comprised of some of Discworld's most dynamic and nuanced characters like Carrot, Angua, Cheery, Detritus and of course, Commander Samuel Vimes. Some standouts from this line are Feet of Clay and Night Watch which is literally Back to the Future meets Les Miserables, two of my favourite things.

Okay, you say. I like character development immensely but wasn’t this supposed to be ~fantasy~? Just look to Granny Weatherwax, the usual protagonist of most books in the Witches line which begins with Equal Rites. Like Vimes, she’s the walking representation of Good is not Nice and the antics of her coven bring her into (mostly reluctant) contact with wizards, royals, fae, vampires, and, in Maskerade, stuffy opera managers who are haunted by musical prodigies lurking in the basement. So if you also like a good spoof of a well known story, read the Witches line! There’s Wyrd Sisters for Macbeth, Witches Abroad will give you Cinderella, and Lords & Ladies covers A Midsummer Night’s Dream. 

Speaking of wizards, let’s talk about the OG Discworld protagonist, Rincewind. Honestly? I’m the least invested in him. Like I mentioned before, The Colour of Magic is the first Discworld book technically but it does have some early installment weirdness. I was more entertained by Ridcully and his crew of dramatic pedants. I’ll put in a good word for Interesting Times because well. We are in an era of protest and especially so for my side of the world. I would say to read this line after the other ones because I personally needed to be invested in the Discworld itself before committing myself to Rincewind. I actually think I haven’t even finished all these books yet?? I’m pretty certain I stopped at The Last Hero which is truly an ensemble number so please do read a few City Watch books to fully enjoy it, but that’s mostly because my library doesn’t have Unseen Academicals. But I CAN say I needed little convincing to care about Luggage. 

There are a couple of stand-alones that could be grouped together but more thematically rather than narratively: Pyramids and Small Gods for religion (personally I'd go with Small Gods first), The Truth and Moving Pictures for industry.

I have actually not read any of the Tiffany Aching* books, nor have I gotten to Moist Von Lipwig which I acknowledge may somewhat void my ability to suggest a Discworld reading order but it just goes to show you how much there is to this series.

TL;DR?: Or you can just look at this handy graphic which I keep bookmarked as a personal checklist to remind myself what I haven’t read yet. But I really enjoyed this opportunity to ramble about Discworld so thank you, anon. 

*Hmmm I really should, so I can use it as a Harry Potter alternative for my students

[eventual-ghoste]

TOG rambling

Hello! This post has to do with Andy and some revelations at the end of Force Multiplied. Spoilers I give aren’t super specific but they’re there, and I can’t promise they won’t bite.

This is also in response to a TOG discord question I couldn’t stop thinking about, regarding Andy’s history as compared to Nicky’s, as posited by Em | salzundhonig:

But Nicky's past as a crusader and his growth from his past was well received, surely that'll be the same with Andy right?

I apologize if these ramblings sound like a rant but I swear my intentions are in the spirit of debate/discourse, and they are not an attack on any individuals.

The TL;DR is: Andy has work to do. Hopefully Hollywood and Rucka don’t fuck that up.

Feel free to check/correct/call me out if I’ve misspoke anywhere here (I realize I still have a lot to learn) but IMHO, I don’t think a semblance of Andy’s growth will be well received. Or, at least, I’m not so certain it should be because, in the comics, I genuinely don’t think Andy has grown. At the end of Force Multiplied, she still defends her actions with the “this is how I grew up” argument, and says it was “a long time ago,” and as much as I love love LOVE Andromache the Scythian for her badassery and how she’s a vision of female empowerment, I can’t help but think about how I hear those words all the time from people defending themselves against racist and/or sexist comments from so-called bygone eras.

Wanna know a sad difference between those people and our beloved Andy? They apologize for what they’ve done, or who they were. As hollow as the words will sound, however unforgivable their actions, however self-serving the apology will be— Those Asshats apologize. Comic!Andy never does, not even when confronted by Nile, an African American woman who likely descends from slaves, and has undoubtedly experienced racism and discrimination on a regular basis. It’s been thousands of years and Andy doesn’t even know how to say sorry (if she ever does, kudos to whoever finds a timestamp/panel, and let me know!). Instead, Andy buries the truth of her actions with a load of justifications to the point that she becomes self-deprecating, calling herself “vermin,” concluding she’s no better than the apathetic, selfish, evil POS they hunt. She may have spent the past millennia with TOG, trying to make things right but then—

But then she gives up. She’s tired. She resigns because she doesn’t have it in her anymore to fight the injustice she once willingly and self-servingly participated in. So, on top of being incapable of apology, Andy also doesn’t vow to do better. She doesn’t accede to change.

If there is one reason for why “The Old Guard” is a fucking absolutely shitty title, is that it refers to people who refuse to accept new ideas and progress. We are in a fandom that has four canonically queer characters, three people of color, and two female leads! Maybe the irony is intentional but damn, why is it that Andy, PROTAGONIST #1, hasn’t completely caught up with the program?

And that brings me to why I think Andy’s reckoning will not be on the same level as Nicky’s. Because as popular as Kaysanova is, neither Nicky or Joe are the main protagonists of TOG.

We don’t follow Nicky or Joe (or Booker) into scenes. The men are strictly back-at-the-ranch, supporting characters. We follow Andy or Nile (who also have the most screen time, I believe, but fact-check me). Filmically speaking, we ought to value them with a measure of precedence. Their words and actions matter the most, especially Andy’s by nature of how everyone looks to her for guidance.

So, with all that in mind: How does one reconcile a beloved protagonist with a despicable past in slavery, of all things? In the wake of an international racial reckoning, how is a celebrated, white South African actress going to fulfill that role? How is production going to balance fantasy with reality? How are Rucka and other involved writers (Theron, Prince-Bythewood?) going to alter the original IP, while retaining the nuance of this moral quandry?

Forgive me for the overkill but: How is it going to happen?

I’m well aware that my thoughts are going down a rabbit hole, and I am definitely overthinking this, but as somebody who’s genuinely curious about whether Victoria Mahoney and the rest of the TOG crew will have the guts to confront the issue head-on, or if they’ll take the easy way out. Excise the bits that no one wants to talk about, much less watch in a feel-good film that TOG has become for many fans.

Whatever production ends up doing, I hope that 2O2G doesn’t end on a cliffhanging “pity Andromache” note because, damn, I’m gonna feel real uncomfortable scrolling through fandom posts, reading people defending slavery and giving the same “the past is a foreign country; they do things differently there” spiel, in order to protect a fictional character played by a conventionally-attractive cis heterosexual white woman.

(Also: If the past is so different from the present, why are there still calls for social justice? Why do ALL industries still lack diverse and equitable representation?)

Now, this is where I’ll go back to the original question and say: While I think Nicky functions well as an example for change/growth/redemption, I don’t think his change serves as a good comparison to Andy’s. I say this, even while I’m aware of double standards in gender, and even between the reception of gay characters vs lesbian characters vs etc. (re: I’m open to critique).

My line of thought stems from the fact that, canonically, Nicky always had Joe. The two have seemingly been inseparable from the moment they first killed each other. It’s likely that Joe would check Nicky whenever he said or did something wrong and offensive, and perhaps this symbiosis was mutual.

(I also have a feeling that many people easily disregarded the Christian/Muslim conflict because A) lack of knowledge in BOTH religions and B) the onscreen couple appear very much in love, especially when one is giving a beautiful monologue on the nature of their relationship. When we meet Joe and Nicky, we meet them at their best. Shout-out to interfaith couples who know more about this than my single (and secular) ass does, and might have more to say about this.)

On the other hand: Andy never had someone who was like how Joe was for Nicky. No one ever calls out Andy because A) she’s the oldest, B) she’s the lead, and C) her business card says ANDROMACHE OF SCYTHIA, WAR GOD. Yeah, she had Quynh/Noriko but— at the risk of yelling at Rucka for vilifying a queer woman of color (or praising him for not leaning on the stereotype of Asian passivity? idk, anyone got thoughts on this?)— Noriko is clearly not encouraging good behavior. Neither will Quynh if Netflix lets 2O2G be as faithful to the comics as TOG1 was.

Which means the Law 282 conversation might be…unavoidable? Somewhere along the line, we still end up in the hotel room with Andy, on the floor, pleading for her crew to not abandon her, even though she is the one who abandoned their cause.

This sets up a circumstance in which Fade Away might be spent trying to redeem Andy/Charlize Theron, bring her back to the “good side,” teaching her to be better— thereby highlighting her experience and “salvation,” rather than making a point of her past, and the reality of her actions. In other words, a “pity the white woman” fest.

(Because I’m crossing my fingers that TOG production/Netflix know better) In an effort to prevent that from happening, I wonder if Rucka will combine Force Multiplied with Fade Away for the 2O2G script. Given the series’ track record, I think it is feasible that FA’s release coincides with 2O2G’s, and that it finally resolves Andy. Whether by revitalizing her energy as a do-some-gooder, or finalizing her vulnerability by putting her 6,000 years to rest, thus handing off the reigns to Nile and a new generation of leadership.

The last thing I want to leave off with is: I don’t hate Andy. It’s a credit to Rucka and fellow writers (from film and fandom) that I don’t.

I might not love her character as enthusiastically as I used to, but that doesn’t mean I’m not amazed by her creation. She’s a female lead whose sexuality is not exploited by the male gaze; whose emotional vulnerability is not considered a hindrance to, nor an explanation for, her battle prowess; and whose unabashed queerness is not reinforced by cookie cutter stereotypes. Andromache the Scythian is AMAZING.

That doesn’t mean I’m going to excuse or ignore her most glaring and contemptible flaw. More than anything, I’d love to sweep her past under the carpet so that 2O2G can be problem-free. Like many people, I just want to enjoy a movie without getting triggered.

I want to see Quynh and Andy kiss and make up. I want to see Joe rocking Those Shorts, and a cheeky shot of Nicky appreciating his ass. I want to see Nile welcoming Booker back to the family again. Some form of group therapy would be chef’s kiss.

But something about glossing over/removing slavery from Andy’s narrative reeks of dishonesty, and reminds me that the (Hollywood) movie industry is full of people who do not want to be tainted with negative perceptions. Understandably, appearances are their livelihood— but that particular truth is something they still have to reckon with.

[calliecat93]

ST: The Next Generation Season 3 Watchthrough Episodes 4-6

Who Watches the Watchers: Picard is God now, or at least an alien species believes that he is. Whoops. While I disagree with the Prime Directive preventing the Federation from saving lives when there are no other options… yeah when this kind of things happens, I can understand why it’s a thing. So it was alright. I’m not a big fan of how ST sometimes protrays religion, but I also can’t sit here and pretend like there aren’t issues that do need to be addressed. In this case there’s the danger of introducing superstition to a non-superstitious race which quickly causes chaos. The way that Picard convinces the leader that he and the crew are mortal was depressing, but effective. The episode certainly raises plenty of philosophical questions, though again I’d like it if ST was a bit more nuanced about belief in religion or the supernatural (obviously it’s a sci-fi nto a fantasy but still) but it could have been worst. But the people are clearly not evil or insane and it certainly has a point about not enforcing beliefs of a false God or the dangers that com with it like… y’know, almost sacrificing Troi (loved her and Riker’s costumes BTW) for what was ultimately an accident/misunderstanding. Otherwise it’s an alright episode. 3/5.

The Bonding: The theme of the day is grief! We have a very rare occurrence here: an officer dying in the line of duty and leaving her child, whose father is also dead, behind. Since TOS didn’t have kids on the ship we couldn’t really do this plot, but TNG can. Actually makes me understand why Picard doesn’t like kids on the Enterprise and I have complained more than once on them letting Wesley, a kid, on active duty when untrained so I’m glad to see this kind of episode. I liked all the reactions and the concerns for Jeremy. Worf feeling guilty because he lead the mission as well as his parents being dead and wanting to help Jeremy as a result, Troi being understandably concerned that Jeremy isn’t grieving properly, Picard clearly hating this part of his job, and even Wesley talking about how it was when his dad died and how even though he’s gotten through the grief, it’s still difficult. I think it’s the first time he’s been able to express it in an episode, it’s the kind of thing his character needed. Jeremy’s response isn’t exactly abnormal, but it’s certainly not healthy to keep it suppressed and things only get more when his mother magically reappears alive, but it’s not at all as it seems. The choice between the harsh reality of grief, or living a lie but where the ones you love are alive and well. Which one would you choose to believe? I think this really helps show the more mature writing this season cause they handle the topic maturely and very thoughtfully with a ST twist to it. Like Data and Riker talking about how human nature causes us to feel pained when we lose one close to us like they did with Yar but one we don’t know as well or even a while group of those nameless to us doesn’t quite provoke the same response. Kinda like the confrontation Spock and McCoy had in The Immunity Syndrome, only far, FAR less heated. It’s not at all subtle with the message, but with this kind of topic especially with a kid character involved… maybe bluntness is the best way to go. I just wanted to give the poor kid a hug at the end, but I’m glad that he’ll be okay and now has a family in Worf. Also there was a kitty (not Data’s cat, that BETTER be coming soon though!), yay~! 4/5.

Booby Trap: Ah love, it can be so hard to find that special someone. IDK why Geordi’s having a hard time aside form maybe trying too hard cause he’s adorable, but hey I’ve so much as never even made romantic eye contact with someone in the 28 years I’ve been alive so who am I to judge? At least he can get a date. Anyways, after finding an ancient ship, the power starts being mysteriously drained which is bad. Turns out they’ve been caught in a trap, well no one can say that the title is misleading. Anyways, it’s okay. We have a crisis where Geordi going through the personal log of one of the Enterprise designers to find a potential fix… only to end up causing the computer to create a holographic version of the engineer, Leah. So we have Geordi trying to save them before they get blown up while falling in love with a hologram��� welp. So did ST create the whole virtual lover trope? Or at least predict it? Welp. So… is he more or less flirting with the computer of the Enterprise? Or essetially the Enterprise itself? God I can see him and Scotty really getting along haha. But yeah I’m glad to have some Geordi focus… but IDK if the romantic part was necessarily needed, makes it feel more like a Season 2 episode. The next episode is another Geordi one that sounds very interesting so we’ll see if that’s a bit better. Otherwise, no real strong feelings for this one. Probably the weakest thus far but there are still 20 episodes to go and we’ve already had five quality episodes. Very least Levar as Geordi is a blessing XD 2.5/5.

[harddrivetrash]

Methods for Creating Robust RPG Characters From an Actor’s Perspective

I know I don’t post a lot at all, but I’m trying to be better about that. So instead of empty promises and some Assassin’s Creed screenshots, here’s some Real Content! This one’s for all you RPG’ers who might want some advice on character writing. Hope you enjoy it.

For context, I am an actor in Northern California with professional training and seven years of theatre experience. I’m in college currently pursuing a theatre degree. I have been running rpgs for about a year now, and I am the forever game master (GM) for my gaming group.  With that in mind, know that the suggestions in this article come from a place of strong knowledge and love for the art of theatre, and from personal experiences, both onstage and at the gaming table. I have a lot of particular thoughts regarding aesthetic philosophy, specifically as it relates to acting and theatre art, but I’ll try to keep those to a minimum.

1. Start With Your Gameplay Vision

This method focuses on the player’s gameplay preferences first and builds the personality to accommodate that. What do you want this character to be like in a social situation? Do you want a suave talker who can charm his way into trouble and then bluff his way right out of it? Or do you want to be the quiet, brooding type who lets her allies talk things out whilst backing them up by looking intimidating? Similarly, consider how you want to approach combat. Whether you’re a guns-a-blazin’ type player or a stealthy assassin doesn’t matter; the most important part is making that concrete decision and then creating a reason for it.

For example, if you want your character to be a gunslinging, animal-taming bard, decide why they fight that way. Why do they like guns, and how did they learn to shoot? When did they discover their love of animals, and when did they practice the skills which enabled them to tame creatures? With each additional answer, keep adding to the backstory and make sure that everything you add to it stays consistent with its ability to facilitate your gameplay preferences.Keep asking and answering these kinds of introspective questions about your character until you feel comfortable with that creation.

I recommend this method for beginning players and game masters because it allows one to write up a character based on something you’re already excited about. I’ve found that this method works especially well for Dungeons and Dragons, but it’s a perfectly effective method for other, more role-play focused games like Call of Cthulhu or Vampire: the Masquerade. 

The beauty of creating a character this way is the simplicity; the player only needs to consider whether or not every added detail to the character’s personality and backstory is consistent with their desired playstyle. There is no need to worry (too much) about the lore of the game world. The biggest drawback, however, is that this method encourages players to think about actual play in a much more meta-minded manner, as opposed to focusing primarily on immersion and role-play, especially for new players. You might find that you or your players will only play this character so far as to create an opportunity to roll dice. This is totally okay, by the way; there is nothing wrong with hungering for a good dice roll. It’s just something to keep in mind.

2. Find an Environmental Anchor

You may find the previous method to be too basic or meta or for whatever reason not your desired method for character creation; that’s fine! Sometimes when you start a new character, you don’t have the slightest idea about what you want to do in combat or maybe you don’t want to build a character based on class or combat role. No matter what, this method is totally focused on immersion into the game world and nothing else. 

First, speak to your GM about the setting and theme of the game. Try to get as much information as you can about the world and its lore, and then pick something you like as an anchor. For example, if there is a rugged mountain range in a high fantasy setting that you like the concept of, consider making a connection to it with the information you have; is your character from there? Do they want to go there? Did something happen to them whilst travelling through the mountains? Whatever it is, define a clear connection to that place (assuming it works with your game master’s world and lore, of course) and then work from there, asking “why” and “how” along the way to smooth out those rougher details.

Environmental anchors don’t even need to be related to the geography, either! For example, if you’re playing a sci-fi setting where your character lives on a colonial planet, find out what that culture is like. Why is there a colony? What government funded the development of this colony? How do people feel about their leaders and what do they do about those feelings? Acquire any and all information about the people and their culture as you can (assuming your GM shares that with you) and then consider how you want your character to exist in that context. If it’s a religious society, define whether or not your character is religious and how they feel about religion. Do they follow the same religion as everyone else? How has religion affected them in the past? These kinds of questions help you to define how your character acts and feels in the context of the game world without focusing on the different aspects of gameplay or game balance. You’ll definitely find your fighting style along the way, don’t worry.

The biggest downside to using this method as a player is that you need to bug your GM a lot. Chances are they’ll be more than happy to help, especially if they’ve built the entire game world from scratch. But remember, depending on the person, you might not get a lot of information because it’s all an elaborate secret, or they might just not have that information available for you. However, the silver lining is that in asking your game master specific questions about the world, their creative wheels start to turn as they ponder these questions. I’ve found that this usually leads to the GM creating a far more robust and detailed land than they would have done otherwise. In any case, be kind and patient with your questions.

3. Define Personality Traits

Maybe you’re an experienced player and want to try a different method of character creation, or maybe you’re a new player who wants to focus on role-playing a particular archetype, but you have yet to define their more nuanced personality traits. This method is perfect for building a personality, and then writing your backstory to accommodate that. 

Like the other two methods listed here, the most important thing is to decide on a concrete center for your character concept, regardless of what it is. If you want to play a character who is a brave and honorable warrior, start with that. Why do they value bravery and honor? Was it ingrained in them during childhood or did they learn those values later in life? Just those two questions can give you a lot of creative room with which to work. Keep asking questions about the reasons for your character’s attitudes and the way they react in different situations. 

I personally use this method a lot in conjunction with finding an environmental anchor. You don’t have to, but if you choose not to create a character who is tightly tied to the game world in some way, you run the risk of creating a character in a contextual vacuum. I’ll expand more on this idea at a later date, but the key thing to remember is that people, and by extension characters, do not exist in a vacuum. There is always a social and an environmental context which affects how your character develops. Once you’ve used this method to come up with a good personality for your character, be sure to work with your GM to implement them into their game world as smoothly as possible before play begins.

4. Assist Your Players

This one is for all the game masters out there. I find that it is incredibly helpful and important to assist players in character creation, especially if they are struggling. Asking your players questions and providing suggestions which they themselves may not have thought of goes a long way in helping them develop a character with some real depth. In my experience, this collaboration also helps immensely with prompting players to create more intriguing backstories.

Communication is incredibly important (again, I plan to elaborate on this subject in a future post) and as a GM, character creation goes a lot smoother when you inform your players about the setting as soon as possible. Keep them updated as things change in your planning so they can change their ideas in time, if need be. 

The biggest pitfall with this method for both players and game masters is the risk of allowing the player's creation to become the GM's creation. Too many suggestions for backstory plot points or personality traits can smother the player's creativity and lead them to play a character which actually isn't their own creation, and they might not be happy about that. 

Personally, I like giving my players as much agency as possible, so i tend to keep my suggestions to a minimum and focus on asking my players questions about their character. However, if your players enjoy taking your suggestions and everyone's having fun, you don't need to worry. 

One Last Thing…

Remember that your character, especially if you’re a player, is your vessel through whom you may freely express yourself. Stay true to whatever your vision is and create something that you actually enjoy, even if it takes a little bit more time than you’d expect. Playing tabletop games is about having fun and sharing a narrative experience. Don’t worry too much about if your character is “right” or “interesting enough” or “different enough” from your own real personality; that stuff doesn’t matter. As long as you’re all having fun, you’re doing it right. 

Be kind to each other and stay healthy.

[qm-vox]

Let The World Never Falter - Playing Paladins in D&D

(Pictured: Anastasia Luxan, Knight of the Tainted Cup, one of only two people in her friend group that are not evil-aligned. Her wife Aisling is not the other good-aligned person. Characters are from my novel Mourners: Scum of Shatterdown; art credit goes to J.D)

Paladins are one of Dungeons and Dragons’ most striking, and most controversial, character classes. Few character classes and character concepts capture the imagination as quickly or start arguments of such ferocity. I’ve been in this game awhile - I remember when D&D 3e was released - and paladins have been one of my most loved and most hated parts of D&D and its legacy systems that entire time. So here I am again, about to write a long-ass article offerin’ my perspective on paladins through the ages (hopefully highlighting the strongest parts of each vision of them), talk about their pitfalls and problematic elements, and offer some advice on bringing your own paladin to life.

While this article draws on my long experience with D&D and will be citing specific sources, it would not be possible without the help of some other people in my life. I mention Afroakuma a lot in the context of D&D, and our friendship has once again been invaluable here. @a-world-unmasked , also one of my oldest friends, has long been a source of ethical discussion and debate, especially about thorny questions of justice & mercy, amends, redemption, and punishment, and provided information on D&D 4e’s paladins and paladin-like classes. SSG Jacob Karpel, United States Army, brought a Jewish perspective on paladins and their themes into my life and has borne questions of faith, dogma, and tradition with remarkable enthusiasm and patience. @swiftactionrecovery provided further perspective on D&D 4e, and her current paladin (”paladin”; it’s complicated), Aurora, is a great example of a non-traditional take that is at the same time very on-brand. Emerald has long provided the service of beating my ass when I start getting stupid about my own values and beliefs, and @ahr42p‘s fascination with fantasy ethics has informed a lot of my own thoughts on the same. None of this would be possible without you folks.

This article’s title is drawn from Maverick Hunter Quest, written by Cain Labs & Hunter Command. It appears as the motto of the 10th Urban Unit; dedicated soldiers whose specialty was preserving lives, preventing collateral damage, and steering disasters away from the innocent.

None of my articles are quite complete without Content Warnings; the following will contain mentions and descriptions of violence (including state-sanctioned violence such as executions), mentions of high crimes such as slavery and forced conversion, discussion of religion in both fictional and non-fictional contexts, and discussion of fascism and fascist ideology. It is also the end result of more than 20 years of both passionate love for paladins and equally passionate hatred of the same. If you’re wondering what some of that has to do with paladins...well, you’re in for a ride.

So, without further ado, let’s get into...

The Order Of The Kitchen Table - Paladins Through D&D’s History

I hope you like walls of text because I am about to fuck you up with some.

D&D and Pathfinder have a long history with paladins, and they’ve changed a lot through the ages. The following is an overview of the different editions of paladins, what each introduced, and their strengths & weaknesses as a vision of paladinhood. Though the advice in this article is weighted towards 3.PF and 5e, it should in theory be applicable to any of these editions; I should also note that while Pathfinder 2e has its own version of paladins, I am not familiar enough with its vision of paladins to be able to speak on it in good faith. Let’s start with the oldest first, shall we?

AD&D 1e & 2e: Rise A Knight - 1e and 2e were fucking wild. The original incarnation of the paladin showed up as a sub-class of the cavalier, a warrior-group class which had an aura of courage, rode a horse, and had other ‘knightly’ abilities. Paladins had to be a cut above and beyond cavaliers, but unless they also violated the code of the cavaliers in addition to the paladin code, they would become cavaliers when they Fell rather than fighters, which was a bit of a better spot to be in. These paladins were very specifically part of the military arm of a feudal state, with all that entails, and had restrictions on what they could wear and what weapons they could use that were rooted in their social status. In point of fact, in 1e? Paladins couldn’t use missile weapons at all; bows, crossbows, and their kin were for “peasants”. These paladins had to tithe 10% of all income to a ‘worthy’ institution (usually a Lawful Good church of some kind, but other examples include hospitals, charitable initiatives, orphanages, and monasteries), had sharp limits on how many magical items they could own & of what kind, and were beholden to a strict code of conduct rooted in medieval feudalism & romantic ideals of chivalry. While the very original paladin had many of the iconic powers associated with them today (laying on hands, curing disease, an affinity for holy swords), it was not until AD&D 1e proper that paladins developed the ability to cast spells for themselves.

AD&D 2e’s vision of paladins was similar in many ways; they had the same powers, similar ability score requirements, and were similarly rare and elite. They had wealth limits, had to tithe from their income, could only own certain numbers and kinds of magical items, and had to be of Lawful Good alignment. Where things get interestingly different here is who becomes a paladin, and why. In both editions, only humans could be paladins, but where 1e required paladins to be drawn from or else become nobility (because they were derived from cavalier, which was all about status), 2e opened up many origins for paladins. The majority of these can be found in The Complete Paladin’s Handbook, just under 130 pages of nothing but paladins. Reading that book is a fucking trip; it was published in 1994, and while I am not gonna pretend that it’s woke or unproblematic, it has some stunningly modern takes. Do you expect to open up an old D&D supplement about paladins and find it defending poly relationships as valid? NEITHER DID I.

It’s important to note that in both of these editions, paladins lacked magical avenues of attack entirely; Smite Evil was a later invention, and paladin spells, in addition to coming online late in their career (9th level), were sharply restricted to a specific list that included no offensive magic whatsoever. Therefore, any paladin origin had to explain from whence one’s martial skills came, since you are in many ways a warrior more than anything else. There’s some expected ones; religious patronage, which ignores social status but requires an organized church that’s permitted to raise men under arms. Government sponsorship, generally conducted in urban areas where you can actually retain recruiters. Inherited title, if you wanna run a paladin that really hates Mom for forcing them into this. Mentors, for running paladins that are just straight-up shonen protagonists, and my personal favorite, DIVINE INTERVENTION, where one day your god starts talking to you but instead of filling your soul with martial skill she makes you sew training weights into your clothes and miraculously makes a bear live in your house so you can learn courage. It’s fucking amazing.

From those origins, anyone who manages to swear their oath and become invested with the power is essentially part of the nobility from then on; paladinhood marks them as an exemplar of noble ideals, which even in a non-romanticized culture sorta grabs the bluebloods by the short hairs. It’s a bit hard to argue divine right if you try to throw the embodiment of your supposed ideals out of your house. Since these paladins were often, though not necessarily, members of militant organizations they were generally expected to have superiors to whom they answer, a chain of command of which they are part, and to eventually construct a stronghold of some kind and put its services at the disposal of that organization in addition to utilizing it to serve the needy and defend the weak. 2e was a lawless and strange time in D&D, in which building such a stronghold and hiring followers was a class feature of warrior-group classes, and one of the paladin’s key benefits was the opportunity, but not the promise, to acquire some manner of holy sword, which which she gained powerful protections against evil that let her stand toe-to-toe with powerful spellcasters.

Tying all of this together was an in-depth exploration of the most complex and probably the most nuanced code published for paladins in any edition. Though the default was a rigid and inflexible code which defined acceptable behavior, associations, and even employees for the paladin, The Complete Paladin’s Handbook introduced an alternate method of handling code violations that ranked infractions by their severity & intent, and assigned penalties accordingly. Was it perfect? No. Not even a little. The Code was, is, and probably forever will be the most trash part of paladin. But it was a damn sight better than basically any incarnation before it, and most of them after. This code was broken down into (in order of importance), Strictures, Edicts, and Virtues. Strictures are the things a paladin must do and have simply to be a paladin; they must be Lawful Good, they must tithe to a worthy institution, they must abide by their wealth limits, and they must not associate (here meaning ‘serve, be friends with, or knowingly hire’) with evil people. Edicts are the commands of those to whom the paladin is sworn to obey; often this will be a church, a government, or both, but a paladin might instead or also swear to obey edicts given by their family, their mentor, their secular philosophy, or even their wider culture. Military commands and orders are edicts, but so are daily practices such as keeping a kosher diet, maintaining a family burial ground, or obeying a system of formal etiquette. A paladin freely chooses the source of her edicts, but once she’s sworn to obey she cannot selectively turn down a given edict unless it would conflict with one of her Strictures (for instance, if her king orders her to beat a helpless prisoner) or with a ‘higher’ source of Edicts (in general, a paladins religion or philosophy takes precedence over her liege or mentor, who in turn takes precedence over family or culture).

Virtues are where we get real interesting. Lemme quote The Complete Paladin’s Handbook, page 32:

Virtues are traits exemplifying the highest standards of morality, decency, and duty. They comprise the paladin’s personal code. Although not specifically detailed in the PH definition of a paladin, a paladin’s virtues are implied by his strictures as well as his outlook, role, and personality. Just as a paladin must obey his strictures, he must also remain true to his virtues.

Though most paladins adhere to all of the virtues described below, exceptions are possible. For instance, a paladin from a primitive society may be so unfamiliar with civilized etiquette that including courtesy as part of his ethos would be unreasonable. All adjustments must be cleared by the DM at the outset of a paladin’s career.

No system was attached to virtue ‘violations’, because they weren’t oaths to keep as such. Rather, virtues represented commitments to a paladin’s ideals and worldviews; they were the behaviors and values which someone serious about being a paladin would live by because that’s the kind of person they are. They were very Christian and very European in nature, tied up in Catholic ideas of knighthood from which paladins as a class were originally drawn, but there’s definitely a point to be made here. If you don’t walk your talk, can you call yourself a paragon? We’re gonna get into this specific topic more later in the article, when I start discussing other the virtues extolled by other kinds of warriors, but the ones listed and expanded on in this book are as follows:

Fealty - A paladin swears loyalty and service to, at minimum, a faith or philosophy that is lawful good in nature. This forms the foundation of her convictions and informs the kind of good she tries to do in the world. A paladin remains conscious of the fact that she is seen as an embodiment of those ideals, takes joy in her service, and pays respect to those to whom she has sworn her troth. Notably, this is not classic feudal fealty; a paladin swears service to institutions, not people, with some exceptions (generally in the form of paladins who swear fealty to their mentors).

Courtesy - Paladins strive to show respect by following social customs, being polite and well-mannered, and treating even enemies with dignity. A paladin responds to insults with grace, considers the feelings of others, and does not stoop to insults or slander. Remember the Kingsmen gentleman rules? That. This is just that.

Honesty - A paladin speaks the truth as she knows it. She is free to withhold information (especially from enemies), and may state that she would prefer not to answer when asked questions - or that she is ordered, enjoined, or otherwise required not to answer, if that is the truth - but does not intentionally mislead or deceive others. If you ask your paladin friend a question and they say they would rather not answer, think real hard about how bad you want their opinion.

Valor - Paladins display courage in battle. Given a choice between many enemies, a paladin chooses the most dangerous. If someone has to take a risk to defend the innocent, cover a retreat, or ensure the success of the mission, the paladin volunteers for that risk. A paladin only retreats from battle to fulfill a higher part of her ethos.

Honor - A paladin conducts herself with integrity even when no one is watching or when it is of no benefit to herself. She shows mercy, refuses to inflict undue suffering even on such wretched beings as demons, does not cheat or cut corners, and does not compromise her principles. The description of the virtue of honor contains the rawest line in the entire book: “It is an admirable act to comfort a dying friend, but an act of honor to comfort a dying enemy.”

The above are the ‘universal’ virtues a paladin is meant to embody. The book briefly touches on the idea that a paladin might also choose to uphold other virtues and work them into her Code of Ennoblement, the ceremony by which she is invested with the power of a paladin...or isn’t. The sample ‘bonus’ virtues provided are humility, chastity, celibacy, and my absolute favorite, industry, in which you swear to have no chill at all, ever, until the day you finally die, and instead spend all of your waking moments in some effort of self-improvement or work such as reading, building houses for the needy, repairing tools & equipment, and otherwise being completely incompetent in the art of self-care. It’s great, I absolutely love it.

Together, this code and the paladin’s abilities present a vision of classical knighthood, something like, oh...

https://www.youtube.com/watch?v=35GUTY_Gr14

That. A defender and paragon of medieval virtues, who lives to help others.

“Alright Vox, surely you’re reaching the end of AD&D 2e now?” you ask. “We’ve been through the mechanics, we’ve been through the vision of paladins as members of feudal states who are figuratively and legally ennobled by righteousness, we’ve even gone into more detail about the code than was strictly necessary. 3e time right?” AFRAID NOT, MY WILD RIDE DOES NOT END. AD&D 2e didn’t have feats, didn’t really have spell selection in this context, and while it had a sort of skill system (the Proficiency system, greatly utilized and suggested by The Complete Paladin’s Handbook) that was hardly a way to make one paladin feel mechanically distinct from others. So how did players do that? Ability score rolls and loot drops?

Nope! We had Kits.

Kits modify a class or multiclass combo (not relevant to this article, but as a f’rinstance, the original Bladesinger was an elf-only Fighter/Mage kit found in The Complete Book of Elves); they give it additional features and additional restrictions. They could, but did not always, have ability score requirements above and beyond the typical ones for their class, and they might also have backstory or roleplaying requirements. A kit might who your character is in the society of the game world, the abilities they brought to the adventuring party, or both. Like Pathfinder’s Archetypes, some kits would strip abilities from the standard class, but not all of them did so.

So what did paladin kits do? In short, they changed the kind of knight you were. An Errant, for instance, is kept on a long leash by their liege and does not often have to fulfill edicts - but in exchange, she’s on her own and cannot expect funding from the state. Ghosthunters, who specialize in the destruction of the undead, gain the power to dispel evil, immunity to paralysis, turn undead just as well as a cleric does, and get access to a holy sword a minimum of 2 levels earlier - but they can’t lay hands, cure disease, cast priest spells, or enjoy immunity to disease. Inquisitors (I know) are paladins who see magic as a good and benevolent force, which is corrupted - profaned, even - by the practice of evil magic; they’re similar to ghosthunters in a lot of ways, but also represent an organized philosophy. The Complete Paladin’s Handbook has 22 pages of kits for standard paladin alone, which you can mix and match to create your own unique take on the concept, plus information on “demi-paladins” - non-human fighter/clerics who slowly gain paladin powers in addition to their own. This was back in the day when certain races just could not be good at certain classes due to level restrictions or being unable to take those classes in the first place, but here was the first glimmer of D&D confronting some of its own bullshit; before this book, the implication was that no non-human race was moral enough to be a paladin.

There’s so much more in this book but I’m not gonna get into all of it or this article’s just gonna be a review of one supplement; if you can get your hands on a PDF or even a hard copy, I highly suggest it as a read. It’s not that I endorse its vision for paladins as being the best or as being objectively correct, because I don’t; the potential of paladins is much broader than this narrow vision of Christian feudalism. It’s that no other book, before or after, has paid such loving attention to who paladins are in the game world, including thought given to details like their mortality rate (paladins that manage to survive to 40 are forcibly retired in the hopes that they can teach the youngbloods to do the same), the economics of knighthood, meta-commentary about how the class’s aesthetic and presentation is built to enhance themes about the game and the setting, and even a chapter on weaving faith into your game world and thinking about your paladin’s relationship to her own. The great strength of AD&D 2e’s paladins is that they, more than any others, have this loving care devoted to them that makes them feel like a real part of the worlds in which they live, and their great weakness is a vision that is more narrow than it wanted to be. You can see the author grasping for something broader, something more inclusive, only for it to slip between his fingers.

D&D 3.5: Up From The Gutter - Ah, D&D 3.5, the demon that will not die. This game spawned a million spin-offs and heartbreakers, love for it contributed to the rise of Pathfinder, and it remains incredibly popular and played. It’s also garbage, but c’est la vie, c’est la morte. Its vision of paladin is not as detailed as AD&D 2e’s was, and its main innovations were mechanical in nature. However, 3.5 did offer some in-depth explorations on what it means to be Good-aligned that previous editions did not, and given the context that’s about to be important to talk about.

3.5′s vision of paladin mechanics was remarkably similar to 2e’s, with the most notable change being race selection (anyone can now be a paladin as long as they’re Lawful Good) and the addition of Smite Evil, which can be used a certain number of times per day to gain more accuracy and damage when attacking evil-aligned creatures. Paladins are still warriors, they still cure disease, lay on hands, detect evil, and own a horse; in other words, they barely changed. Unfortunately, the game changed, and this left paladins high and dry. I’m not gonna mince words: for most of 3.5′s run, paladins lagged so far behind in terms of combat prowess, skill selection, and general utility that they were essentially unplayable, including and in some ways especially against classic foes such as demons and dragons.

I’m not gonna get into why, because that is a separate and much angrier article that will spark a lot of controversy due to people who run their ignorant mouths like they know what the fuck they’re talking about, not that I’m bitter. The relevant part of this is that over 3.5′s run, paladin did in fact slowly improve. The Serenity feat, published in Dragon 306, (and much more easily available to you in Dragon Compendium) helped clean up the dizzying amount of attributes upon which they were dependent. Battle Blessing (Champions of Valor) made it easier to incorporate their native spellcasting into their play (though nothing ever quite solved their sharply limited spell slots), and Sword of the Arcane Order (Champions of Valor again) both opened up an alternate vision of paladins as a different kind of magical knight & offered broader utility in paladin’s spell list. The Prestige Paladin in Unearthed Arcana converted paladin from a base class to a prestige class, which let you build it off of more mechanically viable classes - further enhancing your ability to customize your paladin, especially since as a PrC you could stop taking Prestige Paladin at any time you felt you were sufficiently knightly. Access to these and other options eventually made paladin, if not good, at least viable, able to be played in most campaigns and pre-made adventures without undue worry or getting chumped out of basic encounters.

In all of their forms, these paladins still had a code. Observe:

Code of Conduct

A paladin must be of lawful good alignment and loses all class abilities if she ever willingly commits an evil act.

Additionally, a paladin’s code requires that she respect legitimate authority, act with honor (not lying, not cheating, not using poison, and so forth), help those in need (provided they do not use the help for evil or chaotic ends), and punish those who harm or threaten innocents.

Associates

While she may adventure with characters of any good or neutral alignment, a paladin will never knowingly associate with evil characters, nor will she continue an association with someone who consistently offends her moral code. A paladin may accept only henchmen, followers, or cohorts who are lawful good.

Ex-Paladins

A paladin who ceases to be lawful good, who willfully commits an evil act, or who grossly violates the code of conduct loses all paladin spells and abilities (including the service of the paladin’s mount, but not weapon, armor, and shield proficiencies). She may not progress any farther in levels as a paladin. She regains her abilities and advancement potential if she atones for her violations (see the atonement spell description), as appropriate.

Like a member of any other class, a paladin may be a multiclass character, but multiclass paladins face a special restriction. A paladin who gains a level in any class other than paladin may never again raise her paladin level, though she retains all her paladin abilities.

You know all the horror stories you’ve read of DMs maliciously making paladins Fall, or miscommunications in groups leading to alignment arguments? The ones about youth-pastor paladin characters sucking all the fun out of a party? Meet the culprit. 3.5 did not have The Complete Paladin’s Handbook’s discussion on same-paging with your group to prevent these problems, and this vague code wording paired with immediate and extreme consequences didn’t do it any favors. That’s not to say that this code is unworkable, exactly, but trying to sit down and agree with 4-6 other adults on what ‘gross violations’ actually means is essentially the world’s shittiest round of Apples to Apples and your reward for it is resenting the character you just built.

And that’s the paladin part, which means we have to get into the “being good-aligned” part. Lemme tell you about Book of Exalted Deeds, a historically significant garbage fire of a book that is somehow both the best supplement released about Good and the worst supplement released about Good at the same time.

For those of you with the fortune to have never played 3.5, its books are like that a lot.

So, bad parts first: all the mechanics. Just all of them. The prestige classes? Bad. The feats? Generally bad. The redemption rules revolving around Diplomacy? Sloppy. Magic items? Bad. Spells? Look up an online discussion about sanctify the wicked and then get back to me on that one; they’re bad too. Ravages and afflictions (good-aligned poisons and diseases) were a bad idea that were also a case of stunning hypocrisy from a book whose stance was that dealing ability score damage is ‘needless cruelty’. Even the write-ups for the planar NPCs kinda make them into these basic bitch pushovers, which, you guessed it, is bad. There’s a lot to say against this book and you can find someone saying it in most open web forums if you want to take a journey into the godawful design of the liminal space between 3.0 and 3.5.

But the good stuff was real good. D&D had/has long been stalked by ‘ethical dilemmas’ such as the so-called Goblin Baby Problem, where players would ask if it’s good to let goblin children live since they would only grow up to become goblin adults. Book of Exalted Deeds was the first D&D publication to make a hard stance against racial genocide (hell of a sentence, I know), and it doubled down on The Complete Paladin Handbook’s implied stance that all forms of romance and sexuality are valid as long as they’re between consenting adults that respect one another. BoED strove to define Good not just as the avoidance of evil (”The utter avoidance of evil is, at best, neutral.”) but as actively striving to respect life, practice altruism, and make the world a better and more just place. While its take on ideas like forgiveness, redemption, and justice were not necessarily perfect, it went out of its way to try to offer nuanced takes on those ideas and to note emphatically that practices such as slavery and racism do not become good just because certain historical cultures thought they were at the time.

The other notable thing that Book of Exalted Deeds did for the idea of a Good alignment was firmly state on the record that NG and CG are just as valid and Good as LG is. The existence of paladins and their alignment-locked nature had long implied that Lawful Good was the “best” Good, or the “most” Good, but Book of Exalted Deeds didn’t just introduce material for characters that were paragons of other Good alignments, it provided examples of such characters in action. D&D is still somewhat stalked by that “Law is Good and Good is Lawful” problem, but BoED and other books in its niche (notably including Heroes of Horror - I know, it doesn’t sound like it but trust me - and Champions of Valor) helped push back against that problem and open the floor to other heroes.

I wouldn’t be wholly done talking about 3.5 paladins without mentioning Unearthed Arcana, which introduced the paladin of freedom (CG), paladin of tyranny (LE), and paladin of slaughter (CE). Their hearts were in the right place here, but all three of them were...better ideas than executions, as it were, without much to talk about for them. Still, they make good examples of 3.5′s great strength in paladins: breadth of concept. Ideas that were previously impossible as paladins became commonplace, including paladin-like characters who were not members of the class and which I would absolutely consider paladins myself. It didn’t stick the landing on the mechanics, but that’s just 3.5 for you; if you weren’t a dedicated spellcaster, chances are you were gonna have some manner of bad time. This idea of paladins from all walks of life, from all levels of society and all peoples, has become a cherished part of the popular conception of paladins and it absolutely should be brought forward to other editions.

Which, honestly? It was.

Pathfinder 1e: Two Steps Forward, One Step Back - Pathfinder 1e’s baseline paladin release was essentially 3.5′s in many ways. The key mechanical differences were a revamped Smite Evil (which finally made it effective against its intended targets), the aura line of abilities that begin adding additional effects beyond Aura of Courage at 8th level and up, and Mercies - riders for the paladin’s Lay on Hands ability that cause it to also cure status effects, which in turn greatly enhances the paladin’s utility as a support class. Pathfinder also cleaned up some of 3.5′s attribute problems by orienting all of paladin’s magical abilities to Charisma instead of splitting between Wisdom and Charisma. Another small but significant note is the alteration from ‘gross’ violations of the code to any violation of the code. “Gee Vox, that doesn’t sound like it would really help code problems,” you say, to which I reply: it absolutely fucking did not.

Once we leave core, we get quite a few quality-of-life improvements. Though Pathfinder 1e lacks Battle Blessing, it replicates some of its effects by having many swift-action spells in-house for paladin, notably including the Litany line. Pathfinder’s archetype system for class customization offers options for the paladin that further customize its concept, though on the balance it’s harder to mix and match archs than it was to do so with kits. Archetypes always trade something, so in taking an arch you will lose some part of the base paladin kit and gain something which replaces it.

Narratively, things get more specific outside of core as well. Paizo’s one-and-only setting, Golarion, is one in which paladins must swear fealty to a specific god they serve above all others, and their power is derived directly from that god, who can grant or withhold it as they see fit. These gods (generally LN, LG, or NG in alignment, though certain specific CG deities sponsor paladins who must still be LG themselves) offer their own codes of conduct, which their paladins must follow. A paladin may be obligated to oppose ‘heresy’ as vigorously as chaos or evil, which is an awkward fucking feel, and paladins in Golarion’s setting can be found working for organizations such as the Hellknights, or in the armed forces of nations that practice slavery and forced conversion. That’s not to imply that they’re not also depicted in unambiguously good contexts, but when it comes to establishing paladins (or, well...anyone...) as good-aligned people Paizo has a bad habit of dropping the ball.

Like 3.5, the great strength of the Pathfinder 1e paladin is customization, and in this case a more solid mechanical base in comparison to the rest of the game. Pathfinder similarly flounders in that its vision of paladins is narrow and not fully realized in the game world.

Discussion of Pathfinder 1e’s paladin wouldn’t be complete without mentioning the Anti-Paladin, the only “alternate class” to see mechanical support beyond its initial publication. Baseline anti-paladins must be chaotic evil and have abilities that are the inverse of the baseline paladin; similarly, anti-paladin has archetypes available that change it to different kinds and methods of evil. It has its fans, and in terms of playability it’s as good, if not a little better, than paladin, but on the whole I tend to break on the side of thinking that Good and Evil are not mirror images of one another, and thus an anti-paladin is inappropriate as an idea. At least, one done in this way, as an explicit reaction to a supposed paragon of virtue, as things are about to get real interesting in...

D&D 4e: The Knight Unshackled - D&D 4e built off of the foundations laid down by the Book of Exalted Deeds and Unearthed Arcana by completely removing all alignment restrictions from both paladin and its counterpart class, blackguard. This section will also need to talk about cousin classes to paladin; specifically, the Avenger and the Invoker. Let’s start from the top, shall we?

Paladins in 4e are predicament dommes defenders; they use their abilities to place Marks on enemies, who then suffer damage if they choose to engage someone other than the paladin (all defenders in 4e force choices of a similar nature, though the penalty for failing to make the ‘right’ choice is not necessarily damage). In 4e, paladins are not granted their power by gods, nor are they empowered by their faith in righteousness alone; in point of fact, 4e paladins have no restrictions on their alignment whatsoever and are the first paladins to be open in this way. Instead, a paladin in D&D 4e is invested with power in rites kept secret by individual churches. Once invested, that’s it, no take-backs; the paladin remains a paladin even if they forsake that church entirely. The other classes I’m gonna talk about - avenger, blackguard, and invoker - are similarly invested, with invoker being the exception in how they get invested, but not in their no-takebacks status.

So, what powers a paladin after that investiture? Virtue; specifically, caring about others in some way. An LG paladin empowered by their belief in justice might be a classic knight in shining armor, defending her allies in righteousness’s name, but an LE paladin empowered by the same virtue might easily turn totalitarian, determined to establish justice no matter who has to suffer and die. In this model, evil-aligned paladins are those who care too much about something, to the point where they trample and harm others to see it fulfilled.

Paladin’s inverse, blackguard, is a striker class focused on direct damage. They gain their power through vice, inward-facing desires such as greed, selfishness, lust, or five pounds of nachos in one meal (don’t @ me). Blackguards are also not restricted by alignment. A classically selfish blackguard, out for their own power and safety, might be an amoral mercenary who kills because they can’t be bothered not to, but a good-aligned blackguard who’s selfish is, well, Tiffany Aching: protecting the world because it’s her world and how dare you fucking touch it.

Avengers have more in common with barbarians than paladins, but are notable here for their commonalities with paladin as a divine warrior concept, and also for having bones in with the later Oath of Vengeance concept in D&D 5e. Avengers are invested to smite the enemies of their church; they tap into their power by swearing an oath against specific enemies, and then dissociate until those enemies in particular are dead at their feet. Are you really into Alexander Anderson from Hellsing? Do you want to explore the terrible consequences of power, consequences that might not have been clear when you signed up to become an avenger? This could be for you.

Lastly we have invokers, the odd duck out. They are ranged controllers who fight with pure divine power. Invokers are created directly by gods, but unlike the previous three have no associations with churches; instead, their job is to look out for threats to all of existence and make sure that they don’t happen. Even evil-aligned gods create and tend to respect invokers, because you can’t conquer the world and rule it as its Dread Master if there’s no world left to rule. Because invokers are invested by gods directly, they tend to have a lot in common with the divine intervention paladin origin mentioned waaaaay up there in the 2e section; you’re minding your own business when one day God goes “TIME TO LEARN HOW TO SAVE THE WORLD” and that’s just your life now.

D&D 4e’s paladins and paladin-like classes fully realize the breadth of concepts and characters that paladins could fulfill; they offer intriguing possibilities for roleplaying, engaging character and plot hooks, and mechanically distinct interpretations of divine power. In unshackling paladins from alignment, 4e opens them up to questions of heroism, conviction, and belief that were in many ways previously closed, especially because paladins in other editions were often made to Fall for asking those questions. Their big weakness is, well, being in 4e. It’s not that D&D 4e is a bad game - in many ways it’s the most honest edition of D&D, and certainly the most tightly-designed - but rather that 4e’s context is highly specific. It can be hard to find players or DMs familiar with it, might be frustrating to gain access to its books, and once you do adapting its material requires significant narrative changes if you remove it from the context of the Points of Light setting.

D&D 5e: This I Vow - D&D 5e’s paladin is, in many ways, a combination of and refinement upon previous elements. Like 4e’s, it is not restricted by alignment (though the three Oaths in core do suggest particular alignments). Like 3.5′s paladin, it combines magical power with martial skill, though 5e’s paladin is both more overtly magical and gains access to better spells, faster, than its predecessor. Though the paladin gains some warrior-type abilities (notably including their choice of Fighting Style and the Extra Attack feature), the majority of their abilities are supernatural in nature, including Lay On Hands (in the form of a pool of hit points that can also be expended to remove poisons and diseases), immunity to disease, an array of defensive and utility spells (as well as the Smite line for bursts of damage), a Divine Smite that trades spells for damage directly, and native auras that protect the paladin’s allies as well as herself. Their defining feature, however, is the Oath they select at third level, which defines what sort of paladin they are.

Your selection of Sacred Oath nets your paladin 2 utility abilities at 3rd level, an additional aura at 7th, a strong upgrade of some kind at 15th, and a capstone at 20th that neither you nor any other living being will ever see because 5e campaigns barely get to 14th, God forbid 20th. Each Oath also provides a set of tenets that you are meant to live up to, but unlike previous incarnations of a Code of Conduct 5e’s relationship to these tenets is more...human. The following passage is from the Player’s Handbook, page 83 (”Creating A Paladin”):

As guardians against the forces of wickedness, paladins are rarely of any evil alignment. Most of them walk the paths of charity and justice. Consider how your alignment colors the way you pursue your holy quest and the manner in which you conduct yourself before gods and mortals. Your oath and alignment might be in harmony, or your oath might represent standards of behavior you have not yet attained.

Emphasis mine.

The baseline assumption for 5e’s paladins are believers in righteousness, whose faith in virtue empowers them to protect the weak, but more than any other edition, 5e recognizes that paladins are still people, who have flaws, strengths, and ambitions. Its Background system helps flesh out your character both mechanically and narratively, and material presented both in the Player’s Handbook and Xanathar’s Guide to Everything encourage you to think about the things that drive and oppose your paladin. Importantly, though the books say that evil paladins are rare, no actual alignment restriction on paladins exist, which opens up some interesting possibilities in terms of character creation. We’ll get more into that down the article a bit, when I talk about same-paging and refluffing.

Because Oaths come with both mechanics and an ethos, there is a strong incentive to create new Oaths for 5e if you want to embody a new ethos, but this may not always be strictly necessary. Additionally, the Player’s Handbook implies that paladins who flagrantly fail or abandon their oaths might become Oathbreakers (Dungeon Master’s Guide, page 97, under “Villain Options”), but this too may not be the correct move, especially in cases where a paladin abandons one set of high ideals for a different, but no lower, form of belief. We’ll get into that later too.

5e’s paladins are in the best mechanical position they’ve ever been in; they’re one of the strongest classes in the game line, easy to build and play, and difficult to fuck up. They have strong thematics with their abilities and especially their Oaths, and the way 5e encourages you to make your characters helps you realize them as people in the game world. The great weakness of this vision of paladins is customization; 5e lacks player options in many senses, and quite a few of those options are gated behind rules that may not be in use (such as Feats). It can be difficult, in many cases, to make two paladins of the same Oath feel different when the dice hit the table.

And at long last, we have finished the establishing-context section of this article, and can move on to the actual fucking article. I did warn you, way up top, that you were in for a ride.

Raise Thy Sword - Paladins At Your Table

The following section is meant to help you in making and fleshing out a paladin concept to play or even to use as an NPC. Most of the advice will be edition-agnostic; advice that isn’t will be marked as such. Also covered herein will be the related topics of same-paging, refluffing, and the common pitfalls that paladins have fallen into over the years (and how to avoid them).

Same-Paging - In Which We Communicate Like Adults

Same-paging is the practice of talking to your group in a way that helps set mutual expectations, and it’s something every RPG group should strive to do regardless of the system they’re playing in. You’ve probably done this to an extent before, as part of being pitched a game (”We’re going to do a dungeon crawl through the deadly halls of Undermountain”), during character creation, and the like. In the specific case of paladins, you want to talk to your group and DM about topics like alignment & alignment restrictions, your code of conduct or oath, and whether or not the group wants to handle things like ethical dilemmas and moral quandaries. Though paladins are famous for those last two, they’re certainly not a requirement; you can just as easily play a paladin in a campaign like Expedition to Undermountain or Princes of the Apocalypse where there is a very clear bad guy who needs to be stopped with enormous applications of violence and guile. However your group wants to play it is fine, but you want to be sure everyone’s on board for it and that you’re ready to rock. If your group signs on for a kick-in-the-door dungeon crawl and then the DM decides to make you pass a series of ethics tests, that DM is an asshole; likewise, if you agree that you want to explore the morals at the heart of your paladin’s ethos and then you just don’t do that, you’re causing the problem.

Who Is Your Deity, And What Does She Do? - Making Your Paladin

Once you and your group have communicated your expectations to each other (and, again, same-paging is something all groups should be doing regularly, not just ones in which you want to play a paladin), it’s finally time to start sketching out your concept! There’s many ways to start this, and while I personally tend to start at the roleplaying end (with ideas about who they are as a person and the themes I want to explore with them), starting with mechanical ideas, with questions, or even with specific dramatic scenes in mind, are also viable. That is to say, “I’m interested in how Aura of the Guardian (Xanathar’s Guide to Everything, page 39) can help me play a damage mitigation tank,” is just as valid as, “Kass, my character, was lifted from a life of crime by a paladin who reformed her neighborhood and campaigned against a corrupt system, and she’s striving to become a paladin in his image.” That said, if there’s one thing D&D and its related communities are good at it’s mechanical guides, so I’m not gonna try and write one here. We’d be here all day; instead, the following questions are things to consider for fleshing out your paladin’s backstory, personality, and goals.

Why did you become a paladin? The origins of your paladin will probably color how they think of their virtues, as well as how they think of evil. A beaten-down girl from the slums understands that kicking the shit out of muggers doesn’t give the downtrodden food, medicine, or roofs that don’t leak, while the third son of a noble family is in a position to understand the damage done by corrupt leaders and faithless lords. In addition to your background and home life, think about what motivated your character to become a paladin specifically. Were they mentored by an older paladin who saw potential in them? Recruited by the militant arm of a church? Did they grow up with stories of paladins and yearn to become the sort of person those stories were written about, or were they, perhaps, seemingly called to paladinhood without much conscious understanding of what it was?

Where did you learn to fight? Paladins are warriors, and even a paladin that Falls (for those campaigns that use Falling as a concept) remains a warrior. 5e paladins, the most overtly magical of all the available options, still spend a lot of time randomizing the atoms of evil with sharpened metal, and that’s a skill you only get through training and dedication. Who taught your paladin to fight? What’s their relationship with that teacher or organization, and how did it shape their ideas about violence? We all catch things off of our teachers, and your paladin’s instructor in combat will, for better or worse, be as big an influence on their life and ideals as their faith and family are. Don’t be afraid to get wild here; AD&D 2e had full-blown godly training montages where the voice of a god ran you through drills, and paladins join warlocks and sorcerers for being fertile ground for some of the weirdest shit. Did you fight daily duels against a stained glass knight only you could see? Did you find a scimitar in the gutter and pick it up to defend your friends from gangs? Were you bankrolled by an old man who later turned out to be a lich, whose motives you still don’t understand? Live your best Big Ham life if that’s the life you wanna live, this is the class for it.

How do you imagine good and evil? What does your paladin’s vision of a Good world look like? What is the face of wickedness that comes to mind when they’re asked to think of Evil? A knight from a kingdom plagued by portals to the Abyss is going to think of both of these things very differently from a gutter rat whose ascension came with a prosthetic hand to replace the one she lost to gangrene, to say nothing of differences in ideals when one factors in Law and Chaos. Your paladin doesn’t have to be perfect, or even, honestly, correct. Your classic ‘noble, but kind of a dick’ paladin (such as Corran d’Arcy in the novelization of Pool of Radiance: Ruins of Myth Drannor, who we’re gonna talk about more later because he’s a weirdly great example of an adventuring paladin) thinks of evil as evildoers, who must be Brought To Justice, which while not entirely wrong is lacking in important nuance. He may conflate manners with virtue, or allow his prejudices to color who he does and doesn’t think of as ‘good’, but that doesn’t change his fundamental desire to Do Good - a desire that could be the catalyst for personal growth. A flawed understanding of virtue and wickedness could be a great character arc for your paladin, especially if it dovetails with the themes of the campaign.

What do you enjoy? Paladins are still people (shocking, I know) and people tend to have hobbies, preferences, and goals. Xanathar’s Guide to Everything has some nice material to quickly flesh out some of those aspects of your paladin (a personal goal, a vice that tempts them, a nemesis that dogs their footsteps), and I highly encourage you to think about such things as well. Does your paladin crave glory, wealth, or revenge? What sort of things do they turn to when they want comfort, or to have a good time? Do they still practice a trade from their youth, such as painting or blacksmithing? The archetype of a knight looking for their true love (or at least a series of whirlwind romances that always seem to end in someone’s bedroom) is a staple, of course. These things don’t necessarily need to be sinister temptations that lead you away from justice; they can just be nice things you like, or comforts that sustain you in your long fight against evil.

How do you relate to your faith? Many settings (notably including Forgotten Realms & Points of Light in D&D, and Golarion in Pathfinder) explicitly link paladins to churches and patron deities, and even in ones where this explicit link does not exist you see paladins who fight in the name of their faiths, serve in the militant arm of their churches, and otherwise seek to live their lives in accordance with their religion. D&D’s history is also full of paladins whose relationship to their faith is more distant, more questioning, or even outright rebellious. In Eberron, for instance, a paladin might dedicate herself to the Kraken - an evil god embodying sea monsters and catastrophes - with her understanding of that faith being preventing monster attacks and protecting the innocent from hurricanes and tidal waves. A paladin might be retained by the Church of St. Cuthbert as a barometer for their own morality, trusted to leash his peers when their retribution grows out of hand & play the devil’s advocate against them, or a knight might simply try to live their lives in accordance with the ideals of beauty, joy, and wonder espoused by Sune Firehair, without being for or against the actual church. What or whom does your paladin believe in, and why? Remember as well that not all, or even most, faiths are particularly similar to Christianity, and as a result your paladin’s relationship to that faith might just be business as usual. A Jewish paladin arguing with God is Judaism working as intended; similarly, a paladin dedicated to the Aesir doesn’t get to act surprised when they come home one day and Freya is chilling in their bathtub with a glass of wine and a ‘small request’.

You Wouldn’t Download A Class Feature - Refluffing & You(r Paladin)

So: you’ve come up with your concept, you’ve asked yourself all the relevant questions, but damn, some things just seem to not be fitting. What do you do? It may be the case that refluffing - changing the flavor of a mechanical option to better fit your campaign or setting - may be the right move for you. Refluffing gets a lot of pushback from a certain school of tabletop gaming that believes the flavor of an option is part of its mechanical balance. These people are wrong and I encourage you not to associate with them, in particular because the first party publishers often refluff material for similar reasons. For instance, the setting of Eberron has ‘anything published in D&D has a home here’ as one of its meta-tenets, and in the process of giving many of those things a home it changed their identity. Those hordes of angry ancestor-worshiping elves? That’s refluffing elves. In 3.5 you can see explicit discussion of refluffing in Oriental Adventures, which...well...it’s a book that exists, let’s leave it at that. Oerth having an entire alternate Material Plane where all the mirror of opposition copies come from? Refluffing.

So, when do you refluff? An obvious example is when your group is comfortable with an option being on the table, but is not playing in the setting that option comes from (for instance, the Sword of the Arcane Order feat from Champions of Valor when you are not playing in the Forgotten Realms). Refluffing is also great for when the narrative you’re building for a character implies or requires certain mechanics, but the flavor of those mechanics does not fit that narrative. In the ancient past I briefly GMed a game where one of the PCs was a ‘barbarian’ - a mean-streets kid looking to make a better life for himself, whose Rage was just the fight-or-flight kicking in from living in the garbage parts of Waterdeep. The important things to keep in mind when you choose to refluff an option is to stay on the same page as the rest of your group, and also to not replace the original fluff with nothing; mechanics do help define flavor (they’re the tools with which you interact with the game world), but you still need some reason that your paladin casts wizard spells, or has the abilities of the Oath of Vengeance when the original version of that Oath doesn’t exist in this setting. A very common school of refluffing is changing the origins of one’s power; rather than pure faith, for instance, a paladin’s powers might come from her innate spiritual energy, or from the favor of kami rather than gods.

Refluffing is also great for playing paladins that don’t have levels in the class named paladin. This option is especially relevant in the context of 3.5 and Pathfinder, when it may be more suitable to the needs of the campaign for you to be playing a more powerful or versatile class. In this context, clerics especially make very competent ‘paladins’, as do wizards (you wouldn’t think so, but I’ve seen that campaign played), inquisitors, crusaders, and even druids depending on how your concept is. You don’t need Fall mechanics to follow a code, after all.

For What The World Could Be - Defining Your Paladin’s Ethos

More than almost any other aspect of the class, possessing and following an ethos has defined paladins through the ages. For many years, this was a very specific ethos based on European ideas of chivalry and Christian virtue, and there’s something to be said for it when done well (certainly the Arab warriors from whom Europeans acquired the code of chivalry were lauded for their honor and virtuous conduct, so at a bare minimum one set of folks following these ideals in the real world absolutely nailed it). This is not, however, the only set of high ideals to which a paladin might cleave or aspire, and many fine homebrewers, players, and dungeon masters out there have chosen to craft their own, or to represent their own beliefs in the game world. Many cultures throughout history and all over the world have retained elite warriors held to high standards of conduct, and those traditions are rife for representation as paladins.

I fully intend to provide some specific examples of ethea (evidently this is the plural of ‘ethos’, no I didn’t know that before I started writing this, yes it looks wrong to me too) beyond the ongoing D&D default, but before I do you may want to consider how your paladin relates to those high ideals. After all, these are virtues that your character holds dear, but not everyone does so in the same way. Does she believe that everyone would be better off if they tried to live up to her standards, or does she believe that only certain people should (or must) do so? Does she consider her virtues an impossible ideal, something to strive for rather than fulfill, or does she not harbor such doubts? Is your paladin an idealist, who believes in the power of Good in itself, or is she more cynical?

The answers to these questions don’t necessarily make your paladin less Good as a person. A warrior who believes that there’s always a selfish bastard reason to do the right thing, who sees Evil as suboptimal, could still be a paladin if they work to bring Good into the world. An idealist who still needs to learn about the real consequences of barging into complex problems in a morally complicated world is equally valid, to say nothing of just...playing a genuine in-the-bones Hero, here to Do The Right Thing. Each speaks to a different kind of virtue, and a different life that has led them to these choices, and each deserves their day in the sun. You might have a lot of fun playing someone whose view of what Good is, and why, is different from yours!

Some specific examples of ethea (god that looks so wrong) follow. For the sake of convenience I’m gonna skip anything that’s actually showed up in a paladin entry before, or I’m gonna be here until I die. I am also very much not a member of just about any of the cultures and/or religions I’m about to talk about, and while I have sought the advice and review of those who are, I’m not about to claim that I’m an expert. Any errors in what’s presented are mine, and not those of my friends & readers; I welcome correction and discussion.

Irish Celtic: Blood & Troth  - The ancient Celts were not a people shy about death, and excellence - skill, improvement, and genuine growth - in all of your crafts was one of their high virtues. In addition to excellence, a Celtic warrior was expected to be honest (to never tell a direct lie, and to keep all promises given), hospitable (to be a gracious host & and honorable guests, and defend the sanctity of the home), to be charitable with their skills and their worldly possessions (to give to the needy, defend the weak, and fight for the helpless), to display loyalty to their family, clan, and gods, and to be courageous. That last virtue is an interesting one, because it dovetails with excellence; it’s less about acting in spite of fear, and more about enjoying fearful situations and the call of battle. A paragon of Celtic warfare should love her job, perhaps even revel in it; she relishes combat and the mayhem of the killing fields. Paladins following these virtues are likely to be Chaotic in nature, skewing towards Chaotic Neutral as D&D thinks of these things, and prone to contemplation on concepts of obligation, truth, and the nature of political violence. The crows know that there is always a final answer to injustice.

Irish Celtic paladins are likely to look towards Fionn Mac Cumhaill as a role model; as warriors with magical powers of protection, defense, and healing, they would be valued as keepers of lore, wisdom, and art, more warrior-poet than berserker. If your paladin is part of a wider culture from which she derived this ethos, she was probably expected to both learn knowledge and pass it on to others, and to restrain more eager warriors in favor of cunning plans and clever tactics. Imagine the look on your party members’ faces when they meet your family and realize you’re the sane one; that’s the exact emotion you wanna look to create if you really want to bring this out in the classic vein.

Jewish: We Shall Serve The Lord  - Judaism places a lot of emphasis on the sanctity of life, restorative justice, and doing the good you can do here, and now, with what’s in front of you. Though there is no tradition of elite Jewish warriors in the vein of knights or samurai, Jewish citizens tend to serve under arms slightly more often (about 5% more often) than their countrymen, and defending the innocent & helpless is certainly one way to do good now. A Jewish paladin would be expected to uphold the sanctity of life (preservation of life is the highest calling; a Jew may do anything except deny God in order to preserve life), to practice the principle of Tikkun Olam (’repairing the world’, working actively to make the world around them a more just, peaceful, and pleasant one), to show compassion and generosity to others, to uphold and defend hospitality, to know the Torah and the Law, and, where necessary, to practice intelligent and purposed dissent and skepticism. In the context of D&D, such a character is not likely to be particularly scholarly (paladins haven’t needed a decent Intelligence score at any point in the class’s evolution), but they’re probably conversant in the techniques of reading and research, critical thinking, argument, and debate, if only through exposure. Jewish paladins are most likely to be Good, leaning Lawful, as D&D thinks of these things.

The Jewish ethos describes a set of minimum standards for a righteous person, the Noahide Laws, and greatly encourages you not to associate with any person or culture that can’t meet that standard. They’re honestly not hard to meet either; you basically have to not be a dick about God (don’t try to stop folks from worshiping, don’t spend your time mocking and blaspheming their faith), know that lying and murdering are wrong, don’t be a sexual predator, don’t eat animals that are still alive, and bother to establish a system of laws for self-rule. Though Judaism lacks an elite warrior tradition, you might look to people like Joshua, Judah Maccabee, or Solomon as inspirations for a Jewish paladin character; warriors known for their wisdom, determination, and and in many cases, self-sacrifice. Solomon is also notable as an example of someone who swore the Nazarite Oath, a promise to God to fulfill a mission or task, and to not rest until one has done so. Nazarites are held to higher standards than their peers, notably including the expectation that the object of their oath becomes their only goal until they get it done or die.

As stated before, I am not Jewish and while this information was provided to me by Jewish friends, it is far from complete. @oath-of-lovingkindness might be by to expand on it, if they’re comfortable doing so.

Kemetic Pagan: The Power Of Truth - It’s difficult to talk about how the ancient Kemetic faiths were practiced; there was a lot of strife between the various cults of the gods, sometimes backed by pharaohs who were willing to revise history to get their way about thing, and then the English got a hold of the records. The English getting a hold of your culture’s history rarely ends well for just about anyone. The modern practice of Kemetic worship places great emphasis on service and identity as a member of the community, the promotion and preservation of knowledge, learning, and education, opposing is/fet (’chaos’, here also very much including the breakdown of social bonds and the systems which sustain life), and truth. A Kemetic paladin would be expected to oppose chaos by sustaining or creating such systems (funding schools, founding a neighborhood watch, finding or creating jobs for the poor), defend the defenseless, further her own education and knowledge & teach the ignorant, to be honest and forthright in word and deed, and value strength and justice. They are likely to be Lawful, skewing towards Good, as D&D thinks of these things. For a society to be just, it must first be a society; preservation of the order (both natural and artificial) which sustains human lives comes first.

Kemetic paladins are unlikely to be priests or even to be formally part of a religious heirarchy, again because they have traditionally had issues being scholarly people; instead, they uphold ma’at (what is true, what is just, what is necessary; ma’at is the principle that establishes a community, that relates one person to all other people and defines obligations between them, and opposes chaos) by fulfilling roles that assist their community. Such a paladin might look to one of their patron gods as an example of both the behavior they wish to emulate and their role in the community. A defender and guardian who supports the rural folk might look to Sobek, whose great strength guards the Nile; a would-be hero who craves power and the glory that power might buy her could instead look to Set, who guards the sun-barge and tests the established order so that it can grow strong. This is an ancient faith with quite a few gods, and I haven’t even gone deep enough to say I’ve scratched the surface; if they’re comfortable doing so, @merytu-mrytw may be by to expand on this topic for those interested in learning more.

Samurai: Reaching For Heaven  - You knew we were gonna go here eventually. As famous as knights, and perhaps even more known for their strict code of honor, the samurai were the elite warriors of feudal Japan and members of its ruling class. A samurai was expected to be a warrior, to cultivate an appreciation for high arts such as calligraphy, poetry, and sculpture, to be a scholar or patron of scholars, and to otherwise serve their lord and establish justice in that lord’s name. Today the samurai ethos is often called Bushido (”the way of the warrior”), but that name and conception of their code of conduct is actually a relatively recent invention, dating back only as far as the 20th century. It has its bones in with a 12th century dramatization of a war between two proud clans, and the ideals embodied by the warriors of those clans. Notably, these ideals were considered unattainable; something to strive for, and in striving grow as a person, but not a realistic expectation for a living human in a physical body. I’m gonna go ahead and quote the breakdown of this code that was given to me, because I feel the long form is going to be helpful here. These were the things to strive for, if one wished to call oneself a samurai:

Your duty calls on you to die if necessary. Your honor is more than your life; to live in shame is worse than death. You are expected to be righteous - to have integrity, sincerity, and honesty. To display heroic courage - to be intelligently aware of risks, but to face them boldly, not rashly or foolishly. To be benevolent and compassionate - for you have strength of arms that others cannot fathom. To show respect, even to your enemy. Cruelty, mockery, showboating, boasting, these are against the samurai code. Your strength and stature come through how you stand in adversity, unyielding. To understand that there is no such thing as a promise, or "giving your word" - you do not speak unless you mean what you say. Meaningless words are for shameful people. To safeguard your own honor, for you are its judge - and you will know what will cause you to live in shame, which as noted above, is worse than death. To show loyalty and be dutiful - if you give your service to another, it is theirs to command, and if you set someone's life above yours, you cannot keep honor if you live and they die. To demonstrate self-control - excesses and wants are openings to great shame. Moral character lies in the desire being sublimated toward the better self and higher standing among men.

As the politics and culture of Japan evolved through the years, so too did attitudes towards, and understanding of, this code of conduct, but most dramatic and romantic depictions of the samurai ethos root back to something a lot like this. A paladin dedicated to this ethos is likely to be Lawful Neutral, bending towards Good, as D&D thinks of these things; it emphasizes the virtues of loyalty, duty, and the obligations of both lord and vassal to one another. It is particularly appropriate for characters who see high ideals of virtue as being an unattainable goal to strive for anyway, or for character-driven campaigns looking for high drama that comes from tensions between personal desires and societal expectations (you can see it used for this to wonderful effect in the Legend of Five Rings RPG, most recently published by Fantasy Flight Games).

There are of course many other potential sources for a paladin’s ethos; check out D&D 5e’s homebrew materials and the DM’s guild for just a few. If I didn’t include something here, I promise you that it’s because I’m either ignorant or not confident of my ability to speak on it even in this limited context, not because I was trying to deliberately leave anything out. As I said above, any errors here are mine, and I welcome corrections. I’m also eager to hear about other ethea and how they might be adapted for paladins, so if you’ve got some thoughts there, please, slap ‘em on! I’m quite literally begging to read your paladin takes!

That said, remember that these are real beliefs, that real people follow. If you’re looking to explore an ethos from a culture that is not your own, you should do so with respect and especially with consideration for others that might be affected. It’s one thing to realize 12 sessions into a campaign at your own house that you’ve been accidentally blaspheming someone’s religion; it’s quite another thing to realize that if you’ve been playing in a public place such as a library or a gaming store. Ask folks from the culture or faith in question about it if you can at all do so, and just...if you wouldn’t want someone to be depicting you in a particular way? Don’t depict them that way.

The Trolley Problem And Other Forms Of Psychological Torture - Paladins, Falling, & Alignment

All editions of paladins except 4e have some kind of rule for Falling; losing one’s paladin status and powers, generally because of violations of your code of conduct or a failure to maintain your alignment. 5e sorta-kinda has those rules in a “well if the DM says so” way, which is, in some ways, a worse situation to be in since it leaves the matter unclear. In particular, many editions of paladins require that you have and maintain a Lawful Good alignment, and completely strip you of all powers if you ever change alignment for any reason. If the above sections of this article didn’t make it clear already, I tend to break towards 4e’s school of thought and support unshackling paladins from both alignment and Falling mechanics for general play; they certainly haven’t been powerful enough in the meta to mechanically justify additional restrictions.

This isn’t to say that you can’t use Falling or the threat of Falling for interesting stories and excellent character moments, just that I personally feel that it’s not as necessary as some schools of thought seem to think it is. If you want to incorporate this idea into your campaign, make sure you bring that up when you’re same-paging with your group; it’s definitely one of those topics everyone wants to have a clear understanding about. From there, it’s on the DM to not be a dick about things. Using paladins to explore ethical dilemmas can be very rewarding, but putting one in an ‘impossible’ scenario is rarely any fun. For some great examples of using ethical dilemmas as a form of character growth and to explore the concept of morality, check out The Good Place if you haven’t already. Remember: it’s a game. The goal is to have fun, yeah?

Genocide Is Not An Ethical Dilemma - Common Paladin Pitfalls

This is the part of the article where I get very angry about things.

As I alluded to before, there have been some common pitfalls when it comes to paladins both in the history of their formal writing and in the way the fanbase has chosen to play and relate to them. This section is going to discuss those and what you can do about them, so without further ado:

Fascism  - Paladins have some unfortunate bones in with fascist ideology, particularly the Third Reich’s obsession with ‘will’, as well as the fascist preoccupation with the Crusades, the Crusades themselves, and with being members of social classes which are often oppressive in nature. You really do not have to go far to find some jackoff posting DEUS VULT memes about their paladin, and that’s a problem, first because fascists are bad, and second because that definitely misses the fucking point by a country mile. All editions of D&D and its legacy systems have struggled with this, but a shout-out goes to D&D 5e for publishing the Oath of Conquest, because we definitely needed to respond to this problem by creating an option that gives you heavier, more ornate jackboots to put on people’s necks.

So, what do you do about this? Well, for one thing if you find a fascist at your gaming table you throw them the fuck out into the street, and beyond that mainly you just...try not to play a fuckin’ fascist character. This isn’t really a problem you can solve at the table level, since it’s buried into the writing; all you can do is be aware of it, and not play into it. It shouldn’t be terribly difficult to not make a paladin who’s into kicking poor people and undermining the rights of sapient beings, yeah? Paladins tend to fall into these sorts of problems when they’re depicted as supporting strongmen, or as being the Special And Exalted People to whom the rules do not apply - basically the same situations that give superheroes as a genre their ongoing fascism problem. Keep a weather eye out.

Genocide - The two-for-one combo! Paladins have had a genocide problem as far back as AD&D 2e, where several had racial or religious genocide in their backstories. Sometimes those paladins Fell as a result, sure, but a disturbing amount of them didn’t. We also have such gems as, “A local paladin has started a crusade against half-breeds” (a plot hook published in Draconomicon for 3.5), that greentext story about the paladin and dwarf ‘bros’ who spend their free time murdering orc children, and everything that’s ever been written about how drow are characterized and treated by others. Now, in fairness to paladins, Dungeons & Dragons itself has problems with the themes of race and with its depiction of the morality of genocide, and paladins could be merely caught up in that. On a basic level, solving this issue is easy; don’t endorse genocide, don’t make edgy racist concepts to see if you can ‘still be good’. Even if that wasn’t already tired and worn, someone else already took that concept and went pro with it.

For more information about fantasy’s troubles with race and racial coding, I highly suggest this article & its sequel, as well as Lindsay Ellis’s Bright video.

Youth Pastor Syndrome - This one’s not as dire a problem as the other two; there’s a tendency to play paladins in a way that sucks the fun out of the rest of the group, either because you’re being a judgemental asshole in-character (and possibly out of it), or because they’re constantly having to tiptoe around you to get things done or do what they want in the campaign. In theory, same-paging should help solve this problem before it starts, and it honestly mainly stems from the various ‘association’ clauses in paladin codes through their history. An uptight paladin isn’t necessarily a bad concept, but make sure it’s the right concept for your group before you just go there. Your desire to run a particular character is not an excuse to shit on everyone else’s fun.

Sir Dumbass the Just - So this topic isn’t so much a ‘pitfall’ as something that doesn’t get talked about a lot. There has not been a single incarnation of paladin that is rewarded for investing in Intelligence; instead, they tend to crave Strength or  Dexterity, Constitution, and Wisdom and/or Charisma (depending on edition and build). Once your main three are solved, Wisdom is the next-most important ability score for an adventuring paladin, because it directly relates to detecting threats, seeing through illusions, and resisting mind control, which leaves Intelligence in the dust next to whichever one of Strength or Dexterity you didn’t pick. This means, more often than not, that paladins are going to struggle in scholarly pursuits, be bad at Knowledge-type skills, and otherwise be uneducated in many ways, which most assuredly influences both their internal culture and the sorts of people who become successful paladins. Give the matter some consideration when you’re making your own.

Lady Natasha Pointe-Claire of the Dust March - Paladins as NPCS

Related to what was discussed just above, not all paladins are necessarily adventurers. Though the image of the paladin as a knight-errant, wandering the world in order to defeat foul plots and punch demons in the asshole, is both valid and probably very relevant to paladin player characters, there are other roles that a paladin might fulfill in your campaign setting. Such paladins are still members of a warrior class, and will thus have things in common with player character paladins, but their different roles will encourage investment in other kinds of abilities and skills which might not lead to a successful adventuring paladin, but will lead to a pretty good life in the other job. The following examples are by no means exhaustive, but they should provide a good place for a DM to start if they wanna incorporate paladin NPCs into their games in roles other than fellow (or rival) adventurers. Mentor - Probably the most straightforward; this paladin was a successful adventuring paladin who ended up retiring due to age, injuries, or just to enjoy time with their loved ones/family/children rather than getting mauled to death by undead birds. Take a normal paladin build, ratchet them up into Middle Age or Old Age, call it a day. Such paladins are likely to be a lot calmer and more pragmatic than the younger set, with a combination of painful experience and perspective guiding the advice they give on how to fight evil and how to dodge the fireballs that evil be throwing.

Knight-Hospitaller - Hospitallers are healers, caretakers, and guardians of the sick, injured, and infirm. Such a paladin might help maintain a home for those who have been traumatized (abuse victims, soldiers, people laboring beneath magical curses), be employed at or run a hospital, or maintain a temple dedicated to a god of healing and medicine. Hospitallers tend to choose options that enhance their Lay on Hands ability, memorize more healing spells than attack or defense ones, and value Wisdom and Intelligence more highly than their peers, often at the expense of their Strength or Dexterity (or even their Constitution; paladins, being immune to disease, can afford to be surprisingly frail of body in this role).

Fortress Knight - These paladins have a lot in common with adventuring paladins, but are for one reason or another posted in one spot from which they do not leave. They might be the guardians of a frontier village, soldiers watching over a sinister portal, the personal bodyguards to a powerful noble, or any other role in which they take on a defensive, reactionary stance rather than actively seeking out new and exciting forms of evil. Fortress knights need a higher Wisdom and to invest in Perception-type skills, and will tend to focus on utility-type spells with a strong subtheme of attack; they need to be able to rouse the alarm, dispel magic on their allies, and keep an enemy pinned down.

Example Paladin - Corran D’Arcy

I promise you, your long journey through my article is almost over. I wanna talk about a specific paladin to kinda tie things together, as an example of some of these principles and ideas in motion and because Corran d’Arcy is just weirdly legit when he has absolutely no fucking reason to be. Corran appears in the novelization for Pool of Radiance: Ruins of Myth Drannor, written by Carrie Bebris. The book is based on the videogame of the same name, which in turn was made to celebrate the release of D&D 3.0. “Should I play this game?” you ask, to which I reply: absolutely fucking not, the game was a rough ride when it came out and it has not aged remotely well. 3.0 was rapidly updated to 3.5 because of deep and wide mechanical flaws that made the play experience almost physically painful, and converting it to a CRPG did not help that experience at all.

The book though? Excellent. Legitimately one of the best D&D novels. Spoilers for it follow, but I’d still suggest reading it if you get the chance.

The novel is told from the perspective of Kestrel, a petty thief trying to raise enough money to quit her life of crime and, ideally, die in bed of old age rather than of blood loss in some gutter. A series of poor and alcohol-related decisions leads her to volunteer to guard an evil pool of soul-stealing water, which is where she meets Corran d’Arcy, a paladin of Tyr and the third son of a noble family. The two get on like water and oil; to Kestrel, Corran is a pompous, classist piece of shit who judges her without knowing her, and to Corran, Kestrel is the exact kind of criminal and evildoer he so often fights in his day job. When another team opens a portal to beg for help while they’re being slaughtered, Corran quite literally throws Kestrel through it when she’s trying not to go, nearly killing them both.

This puts their professional relationship off to a bit of a distant start, as you might imagine.

Corran’s prejudice, as well as Kestrel’s more-justified-but-still-unhelpful resentment, hinder the party as they attempt to survive in Myth Drannor and defeat the Cult of the Dragon’s schemes there. Corran’s life of privilege has left him unfamiliar with Kestrel’s skills, and he consistently misuses those skills or forgets to ask for her opinion and expertise - to the detriment of the group. This painful oversight aside, however, Corran proves surprisingly practical; he works with the party’s wizard to create effective combat tactics, utilizes invisibility for surprise attacks against powerful foes, and coordinates well in the heat of battle; after all, the Cult of the Dragon is not taking requests for formal duels, and the fate of the world is at stake. Corran is polite even to his enemies, and openly negotiates with the minions and allies of the Cult in order to avoid combat - notably including drow houses that have made their homes in Myth Drannor. Through the course of the novel, he and Kestrel go from being openly antagonistic towards one another to developing a newfound respect, starting when Kestrel calls Corran out for endangering the party by refusing to retreat. Corran, in turn, forces Kestrel to confront the fact that she has been unhappy living her life with no purpose other than to die another day, a revelation that shakes her to her core.

Things come to a head when one of Corran’s decisions gets a man killed. Kestrel calls him out on it, accusing him - correctly - of hurting those he’s trying to protect by misusing her skills and ignoring the advice of his companions. Seeing his genuine anguish over these events softens Kestrel’s rage towards the paladin, enough that they essentially start their relationship over from the top with genuine change from both of them. A scene late in the book where Kestrel helps Corran find the confidence to attempt divine magic (a gift given only to ‘truly worthy’ paladins) cements what has finally become a trusting friendship.

Corran d’Arcy is an excellent example of a classic paladin archetype with life and humanity breathed into it. He has prejudices and insecurities; he feels pressured to live up to a long legacy of knighthood that intimidates him. At the same time, the virtues he lives up to reward him over and over again, from his bold valor (which sees to the defeat of many evildoers) to his courtesy and honor in social situations (which wins him unlikely allies in a ruined city overrun by wickedness). Though he starts out as a dick, Corran is not malicious, and it’s his genuine desire to do good by others that motivates the change in his behavior; when he learns that he is hurting his friends, he knows that he must change.

That’s the end of the article proper! I hope you found it informative and, more than anything, helpful in creating paladins for your game and campaign setting. I absolutely welcome questions, comments, critique, additions, and the like; my Ask box is open, and the Reblog button is right there.

That said, if you’re interested, Mister Vox’s Wild Ride is not yet over. I got bit by the homebrew bug halfway through this damnable thing, so here’s a paladin oath based on a family from my first completed interactive story, Dungeon Life Quest. Constructive critique of this material is also very welcome!

Oath of the la Croix (D&D 5e Sacred Oath)

(River la Croix, journeyman necromancer and demonologist, ex-mercenary. Character is from Dungeon Life Quest, art provided by Domochevsky.)

The la Croix family have been necromancers for longer than they’ve been the la Croix; they laid down much of the foundations of modern necromancy, and have, through the ages, been tyrants, villains, refugees and, these days, heroes. To be a la Croix is not a matter of blood, but of commitment to the family’s ideals; one must be willing to help those in need, to serve the community, be a level head in times of trouble, to show respect for death and the dead, and to make hard choices with a calm heart.

Though most la Croix are necromancers, alchemists, healers, or summoners of various kinds, every now and again a paladin-like warrior emerges from the ranks of the family, often by adoption. Whether or not such cousins are ‘real’ paladins is a subject of languid internal debate in the family - no la Croix has ever fallen to the point where she lost her powers, but a few have managed to go mad enough with that power to end up hunted down by the rest of the family. The question doesn’t really need answering, but it’s fun to argue about after three cups of wine.

Tenets of the la Croix The high standards expected of la Croix paladins are also expected of anyone who chooses to bear the family name. You can give up the name at any time, but most la Croix children - by adoption or by blood - try to wear it with pride.

Life is for the Living, Death is for the Dead. No one chooses to be born, and very few people choose to die. Respect these truths. Take life when you must, but not cruelly, and never for personal gain. Remember that you, too, are alive, and deserve the chance to enjoy that life as all people do.

Your Name is ‘Somebody’. If there is a call for help, you are the one to answer; when you hear ‘somebody do something’, ‘somebody help me’, you are Somebody, child of Anyone. If you can’t help directly, do everything you can anyway. None of us deserve to be alone.

Serve, Not Rule. A la Croix’s place in her community is service to that community. We are not nobles, tyrants, or generals; we dwell among the common people to protect and shelter them, and to remind ourselves of all the ways in which we are alike. Our power makes us different, not better.

They, Too, Are Victims of Life. You do not know the struggles others go through, just as they do not know yours. All are condemned to live and to die, and deserve your compassion even when you are moved to strike them down for the greater good. Bury your enemies and give them their last rites as if they were your own family.

Oath Spells You gain oath spells at the paladin levels listed.

3rd - bane, false life 5th - darkness, gentle repose 9th - bestow curse, fear 13th - phantasmal killer, shadow of Moil* 17th - danse macabre*, planar binding

*appears in Xanathar’s Guide to Everything

Channel Divinity When you take this oath at 3rd level, you gain the following Channel Divinity options.

Ancestral Protection - You can use your Channel Divinity to call upon your la Croix ancestors for protection. As an action, you suffer damage equal to your paladin level; this damage cannot be prevented or reduced in any way. Then, you and all allies within 30 feet of you gain a bonus to armor class equal to your Charisma modifier for 1 minute.

Balefire Blast - You can use your Channel Divinity to scourge an enemy with death-in-flame. Make a spell attack against a creature within 30 feet. If you hit, that creature suffers necrotic damage equal to your paladin level, plus fire damage equal to your paladin level. If it dies within 1 minute of being hit, it counts as dying of old age in addition to its actual cause of death (usually meaning that it is much more difficult to bring back from the dead).

Necromancer’s Aura Beginning at 7th level, you radiate constant necromantic wards that protect you and your allies. You and allies within 10 feet of you have resistance to necrotic damage and radiant damage, and you make saving throws against effects which would kill you outright with advantage.

At 18th level, the range of this aura increases to 30 feet.

Friend of Death Starting at 15th level, you regain 1 spell slot of 3rd level or lower whenever a creature within 30 feet of you is reduced to 0 or less hit points. You can regain a number of spell slots this way equal to your Charisma modifier; once you reach this limit, you must finish a long rest to use this ability again.

Aphrael’s Chosen At 20th level, you gain the ability to enter a state of heightened necromantic power, in which you can channel far more sorcery than usual. As an action, you suffer damage equal to your paladin level, then begin channeling raw death magic for 1 minute. While in this state, you gain the following benefits:

- You are immune to all effects which would kill you outright - Whenever you cast a paladin spell, you can make a weapon attack as part of casting that spell. You are not required to make this attack. - Creatures make their saving throws against your spells with disadvantage.

Once you use this feature, you can’t use it again until you finish a long rest.

[bazz-b]

THE MEGA RP PLOTTING SHEET / MEME.

First and foremost, recall that no one is perfect, we all had witnessed some plotting once which did not went too well, be it because of us or our partner. So here have this, which may help for future plotting. It’s a lot! Yes, but perhaps give your partners some insight? Anyway BOLD what fully applies, italicize if only somewhat.

MUN NAME: Thomas/Tom     AGE: +25       CONTACT: IM, Ask, Discord

CHARACTER(S): Bazz-B, King Baraggan Louisenbairn, Kurosaki Ichigo, Ichibei Hyosube

CURRENT FANDOM(S): Bleach

BLEACH FANDOM(S) YOU HAVE AN AU FOR:  I have an ATLA and LOK AU for Bazz-B, but no Bleach AUs for external muses

MY LANGUAGE(S): Passable Japanese, Survivable Italian, Fluent English

THEMES I’M INTERESTED IN FOR RP: FANTASY / Science fiction / Horror / WESTERN / ROMANCE / Thriller / MYSTERY / DYSTOPIA / ADVENTURE / MODERN / Erotic / Crime / MYTHOLOGY / Classic / HISTORY / RENAISSANCE / MEDIEVAL / Ancient / WAR / FAMILY / POLITICS / RELIGION / SCHOOL / ADULTHOOD / CHILDHOOD / APOCALYPTIC / GODS / Sport / MUSIC / Science / FIGHTS / ANGST / Smut / DRAMA / etc. (what Bazz-B wants is reflected in italics)

PREFERRED THREAD LENGTH: one-liner / 1 para / 2 PARA / 3+ / NOVELLA.

ASKS CAN BE SEND BY: MUTUALS / NON-MUTUALS / PERSONALS / ANONS.

CAN ASKS BE CONTINUED?:   YES / NO    only by Mutuals?:  YES / NO.

PREFERRED THREAD TYPE: CRACK / casual nothing too deep / SERIOUS / DEEP AS HECK.

IS REALISM / RESEARCH IMPORTANT FOR YOU IN CERTAIN THEMES?:   YES / NO.

ARE YOU ATM OPEN FOR NEW PLOTS?:  YES / NO / DEPENDS.

DO YOU HANDLE YOUR DRAFT / ASK - COUNT WELL?:  YES / NO / SOMEWHAT. (usually but I need to catch up at the moment)

HOW LONG DO YOU USUALLY TAKE TO REPLY?: 24H / 1 WEEK / 2 WEEKS / 3+ / months / years. /DEPENDS ON MOOD AND INSPIRATION, AND IF I’M BUSY I

I’M OKAY WITH INTERACTING: ORIGINAL CHARACTERS / a relative of my character (an oc) / duplicates / MY FANDOM / CROSSOVERS / MULTI-MUSES / self-inserts / people with no AU verse for my fandom / CANON-DIVERGENT PORTRAYALS / AU-VERSIONS.

DO YOU POST MORE IC OR OOC?: IC / OOC.

ARE YOU SELECTIVE WITH FOLLOWING OTHERS?: YES / NO / DEPENDS.  

BEST WAYS TO APPROACH YOU FOR RP/PLOTTING:  You can IM me or send an ask, but the tumblr messaging systems SUCK so I encourage y’all to add me on discord and then just go ham. I’ll only turn down a plot if it’s OOC for Bazz-B, but otherwise I’ll usually try anything. If it’s not working out I’ll typically let you know, but I’m game for most things.

WHAT EXPECTATIONS DO YOU HOLD TOWARDS YOUR PLOTTING PARTNER:  Honestly, not a lot. You can be as invested or as chaotic as works for you. You get the urge to suddenly write a specific theme? Hit me with it. The urge goes and you lose interest, that’s fine. Four weeks later and the muse hits you again LETS DO THIS.

WHEN YOU NOTICE THE PLOTTING IS RATHER ONE-SIDED, WHAT DO YOU DO?:  I don’t typically struggle with this issue. If anything, I’m the lackluster end of the plotting side. I typically run things through Bazz-B as their happening, rarely looking forward. Unless there’s an overarching story we’re specifically working towards I’m pretty weak sauce. Sorry people!

HOW DO YOU USUALLY PLOT WITH OTHERS, DO YOU GIVE INPUT OR LEAVE MOST WORK TOWARDS YOUR PARTNER?:  I’ll typically propose an idea and then see where our muses take us. If my partner needs a rough road map, I’m happy to negotiate what we’d each like to see happen. Generally speaking I let Bazz-B take the wheel.

WHEN A PARTNER DROPS THE THREAD, DO YOU WISH TO KNOW?:   YES / NO / DEPENDS. - And why?: If you want to drop a thread, I’m completely fine with it. The only reason I’d want to know is so I don’t start panicking and think that I forgot to reply you your latest response to it.

WHAT COULD POSSIBLY LEAD YOU TO DROP A THREAD?:  If I lose the thread, or if I think it’s reach a natural conclusion. I don’t typically abandon one in the middle on purpose.

- WILL YOU TELL YOUR PARTNER?:   YES / NO / DEPENDS.

IS COMMUNICATION IN THE RPC IMPORTANT TO YOU? YES / NO.

- AND WHY?: I don’t require a constant, nor deep level of communication, but it’s important to voice concerns. People tend to internalize problems until they become these big ordeals. A friendly message every now and again can save everyone a lot of drama later.

ARE YOU OKAY WITH ABSOLUTE HONESTY, EVEN IF IT MAY MEANS HEARING SOMETHING NEGATIVE ABOUT YOU AND/OR PORTRAYAL?: I BEG for negative feedback. Even if you feel like your nitpicking, it’s the number one thing I crave from writing partners. Tell me what you dislike and I can work on it.

DO YOU THINK YOU CAN HANDLE SUCH SITUATION IN A MATURE WAY? YES / NO.

WHY DO YOU RP AGAIN, IS THERE A GOAL?: To tell a story. Bazz-B is my primary muse, and his entire tale is so interesting to me. The foundations of his identity are flawed and I want to explore that as much a I can, throw him into as many situations as possible and watch him evolve.

WISHLIST, BE IT PLOTS OR SCENARIOS:  My left arm for an entire roster of Sternritter, of course. Bazz-B and Liltotto surviving after the war. A reality where Bazz-B finds happiness and acceptance in himself. A healthy bond with a Shinigami. 

THEMES I WON’T EVER RP / EXPLORE:   I’ll not write rape, it’s understandably triggering for a lot of people and writing it glorifies it, I think. Also racism in a real world setting? I’ve come to terms with it in regards to Shinigami and Arrancar, but they’re fictional groups. I wont engage with it outside of that. Finally, trans-phobia. If a guy like Bazz-B doesn’t engage with that sort of vile nonsense, none of you should either.

WHAT TYPE OF STARTERS DO YOU PREFER / DISLIKE, CAN’T WORK WITH?: Starters that provide a setting and a purpose are great. The sort of starter that turns it back at the recipient with something akin to “Why are you here” are confining. Also, if in the starter your muse is already pushing away mine.. Bazz-B might just nope outta there.

WHAT TYPE OF CHARACTERS CATCH YOUR INTEREST THE MOST?:  Despite my main muse being Bazz-B (or perhaps in favour of it) I typically write as old men cemented deeply in their ways. Yamamoto Genryuusai Shigekuni, King Baraggan Louisenbairn and Ichibei Hyosube are just some examples. Bazz-B kinda fits the bill too.. I GUESS.

WHAT TYPE OF CHARACTERS CATCH YOUR INTEREST THE LEAST?:  Cold, distant, dispassionate sorts. I could never write as the likes of Ishida, Ulquiorra, Haschwalth, etc. They’re all very nuanced characters, they just don’t mesh well with me. 

WHAT ARE YOUR STRONG ASPECTS AS RP PARTNER?: I typically respond lightning fast, my last two weeks or so a poor example of that. I’m passionate, you’ll not find another person so desperately in love with Bazz-B as this fool. I’m easy-going, you can take as long as you want and I’ll still be ready to rumble.

WHAT ARE YOUR WEAK ASPECTS AS RP PARTNER?: Tumblr confuses the hell out of me, I don’t understand a lot of lingo and the big CARDINAL LAWS of writing. I struggle with scene transitioning and limb placement, and my tags are a mess.

DO YOU RP SMUT?:  YES / NO/ DEPENDS.

DO YOU PREFER TO GO INTO DETAIL?: YES / NO / DEPENDS.

ARE YOU OKAY WITH BLACK CURTAIN?: YES / NO.

- WHEN DO YOU RP SMUT? MORE OUT OF FUN OR CHARACTER DEVELOPMENT?:  What I want and what Bazz-B want are wildly different things. This man is planting a flag in the middle of bonezone whether I agree or not. I commonly write smut because it’s what Bazz-B wants, but I prefer to do it for development.

- ANYTHING YOU WOULD NOT WANT TO RP THERE?:  I am personally the most vanilla dude you’ll meet. I can google things but it might not translate very well.

ARE SHIPS IMPORTANT TO YOU?:   YES / NO A characters growth should never be locked to a specific person, but exploring a character in isolation can only get you so far. As people, we grow from one another. Romance is a key factor in formulating a person’s ideals, but that’s no the only form of ship. The eventual friendship between Bazz-B and Liltotto and Giselle is one of the most interesting things to me. A romance surviving Silbern is incredibly powerful in my opinion. The bond of a teacher and a student. There are so many situations that force a character to change how they would typically react.

WOULD YOU SAY YOUR BLOG IS SHIP-FOCUSED?:  YES / NO. More and more I’ve been thinking that I’ve been writing Bazz-B in more ships, but that is not the blog’s focus. Ultimately I’m exploring the character of Bazz-B, and that just happens to be inclusive of ships. Some of my most active writing partners also happen to be muses that Bazz-B has excitedly/begrudgingly/unexpectedly fallen for.

DO YOU USE READ MORE?:  YES / NO / SOMETIMES WHEN I WRITE LONG STUFF.

ARE YOU:  MULTI-SHIP / Single-Ship / Dual-Ship  —  MULTIVERSE / Singleverse.

 - WHAT DO YOU LOVE TO EXPLORE THE MOST IN YOUR SHIPS?: Individuals who challenge Bazz-B, who force him to rise above what he is, what he thinks he should be. Who tear down complacency and demand better of him in all ways. Whether overtly, intentionally, whatever! 

ARE YOU OKAY WITH PRE-ESTABLISHED RELATIONSHIPS?: YES / NO. - If you come to me and sell me a story, I’m in. I’m easily swayed by visual art, written lyrics (my ears don’t work so good with music for some reason) and themes.

► SECTION ABOUT YOUR MUSE.

- WHAT COULD POSSIBLY MAKE YOUR MUSE INTERESTING TOWARDS OTHERS, WHY SHOULD THEY RP WITH THIS PARTICULAR CHARACTER OF YOURS NOW, WHAT POSSIBLE PLOTS DO THEY OFFER?: Bazz-B is a fun guy to taunt, and to cause havoc with. But he’s more than just a hothead, you can read any one of my many rants if you wanna find out about that. With a plot to kill God spanning 1000 years, a burning fury and misguided ideals dragged through the mud of “the lesser of two evils”, he’s a real party trick.

- WITH WHAT TYPE OF MUSES DO YOU USUALLY STRUGGLE TO RP WITH?:  Muses who, from the start, wish to disengage with Bazz-B. I understand it might be in character, but both Bazz-B and I are gonna struggle to engage if there’s not some allowances made.

- WHAT DO THEY DESIRE, IS THEIR GOAL?:  His ultimate goal is the death of Yhwach. In a perfect world that would coexist with a Quincy victory over the Shinigami, vengeance for genocide. But he’ll take the former over the latter.

- WHAT CATCHES THEIR INTEREST FIRST WHEN MEETING SOMEONE NEW?:  Style, first and foremost. If a Quincy had modified their Wandenreich uniform he’s gonna take notice and make some judgement calls. The rest comes after.

- WHAT DO THEY VALUE IN A PERSON?:  Honesty to themselves, and a drive to survive. Not to be buried by what’s expected of them, or what they should do. Free will is one of the fundamental truths of the world.

- WHAT THEMES DO THEY LIKE TALKING ABOUT?:  Motorbikes, Pop-culture, Fashion, Movies, Himself.

- WHICH THEMES BORE THEM?:  History, loyalty beyond all else, the importance of leadership and hierarchy, lectures of all kinds.

- DID THEY EVER WENT THROUGH SOMETHING TRAUMATIC?:  His family was burned alive by the man who claimed to be their God. Entering a war on the losing side, his kind facing extinction. Hiding in the shadows, surrounded by a extremist military cult.

- WHAT COULD LEAD TO AN INSTANT KILL?:  After a certain point in his life, it’s really only Hollows that should fear indiscriminate murder. Unless you threaten his fragile peace, or claim Yhwach was just.

- IS THERE SOMEONE /-THING THEY HATE?:  Bazz-B hates Hollows, and any Quincy loyalists that stand by Yhwach post-Aushwalen. Anyone who saw the true colors of their progenitor and still deluded themselves into thinking him right.. it’s disgusting.

IS YOUR MUSE EASY TO APPROACH?: YES / NO. - Best ways to approach them?:  Stoke his ego and you’re usually set for a good few hours.

SOMETHING YOU MAY STILL WANT TO POINT OUT ABOUT YOUR MUSE?: Nothing you cant already find on one of my many ramblings about that greatest Quincy that every lived, Bazzard ‘Bazz-B’ Black!

CONGRATS!!! You managed it, now tag your mutuals! ♥

Tagged by:  @equipollency (I got a phantom notification so I rolled with it)

Tagging: @diepower + @zombiequincy + @verzinken + @cheonsaaui + @bleachsthetic + @senboago + any other quincy reading this

[diepower]

THE MEGA RP PLOTTING SHEET / MEME.

First and foremost, recall that no one is perfect, we all had witnessed some plotting once which did not went too well, be it because of us or our partner. So here have this, which may help for future plotting. It’s a lot! Yes, but perhaps give your partners some insight? Anyway BOLD what fully applies, italicize if only somewhat.

MUN NAME: Kaiman     AGE: 27       CONTACT: IM, ask, discord

CHARACTER(S): Meninas McAllon, Orihime Inoue, Retsu Unohana, Mashiro Kuna, Tier Harribel, Charlotte Chuuhlhourne

CURRENT FANDOM(S): That I write in? It’s gonna be Bleach, OVW (super selectively im just here for one person), ASOIAF (barely- literally when the mood strikes and that one is private also). I have a lot of current interests in general though.

BLEACH FANDOM(S) YOU HAVE AN AU FOR: While I don’t have anything fully established... I’ve been working with an ASOIAF au (for Harribel & Unohana specifically, though I’m considering it with other characters too), A Dorohedoro AU (for Unohana and Orihime), as well as a Persona AU (more specifically 2&3) for Orihime. I’ve also got a number of post-canon AUs or continuities for all my characters as well!

MY LANGUAGE(S): English, super basic Spanish, barest ASL, fairly good French

THEMES I’M INTERESTED IN FOR RP: FANTASY / SCIENCE FICTION / HORROR / WESTERN / ROMANCE / THRILLER / MYSTERY / DYSTOPIA / ADVENTURE / MODERN / EROTIC / CRIME / MYTHOLOGY / CLASSIC / HISTORY / RENAISSANCE / MEDIEVAL / ANCIENT / WAR / FAMILY / POLITICS / RELIGION / SCHOOL / ADULTHOOD / CHILDHOOD / APOCALYPTIC / GODS / SPORT / MUSIC / SCIENCE / FIGHTS / ANGST / SMUT / DRAMA

PREFERRED THREAD LENGTH: ONE-LINER / 1 PARA / 2 PARA / 3+ / NOVELLA (2para is a sweet spot but it really doesn’t matter to me)

ASKS CAN BE SEND BY: MUTUALS / NON-MUTUALS / PERSONALS / ANONS.

CAN ASKS BE CONTINUED?:   YES / NO    ONLY BY MUTUALS?:  YES / NO

PREFERRED THREAD TYPE: CRACK / CASUAL NOTHING TOO DEEP / SERIOUS / DEEP AS HECK.

IS REALISM / RESEARCH IMPORTANT FOR YOU IN CERTAIN THEMES?:   YES / NO.

ARE YOU ATM OPEN FOR NEW PLOTS?:  YES / NO / DEPENDS.

DO YOU HANDLE YOUR DRAFT / ASK - COUNT WELL?:  YES / NO / SOMEWHAT. (i let them build up too often but some of yall are too quick to reply jkglfjdgsd)

HOW LONG DO YOU USUALLY TAKE TO REPLY?: 24H / 1 WEEK / 2 WEEKS / 3+ / MONTHS / YEARS / DEPENDS ON MOOD AND INSPIRATION, AND IF I’M BUSY

I’M OKAY WITH INTERACTING: ORIGINAL CHARACTERS / A RELATIVE OF MY CHARACTER (AN OC) / DUPLICATES / MY FANDOM / CROSSOVERS / MULTI-MUSES / SELF-INSERTS / PEOPLE WITH NO AU VERSE FOR MY FANDOM / CANON-DIVERGENT PORTRAYALS / AU-VERSIONS (italicized are okay, but under really specific circumstances)

DO YOU POST MORE IC OR OOC?: IC / OOC.

ARE YOU SELECTIVE WITH FOLLOWING OTHERS?: YES / NO / DEPENDS  

BEST WAYS TO APPROACH YOU FOR RP/PLOTTING:  I’m pretty anal about plotting in that I often refuse to RP unless it’s been plotted or I liked a starter call. And in the case of the latter, I’ll still hop into DMs to plot further depending on where the thread takes us. That said, the best way to reach me is through IMs or Discord (available on request). The only time I turn down plots is if I feel like it would put my character in an OOC situation, and I especially dislike my character being one-sidedly used as a tool to further another character’s development without anything being reciprocated (this happens often especially wrt my healer characters)

WHAT EXPECTATIONS DO YOU HOLD TOWARDS YOUR PLOTTING PARTNER: Communication is really important to me, especially with regards to comfort regarding certain plot elements, and approaching other in-character situations that might have multiple different solutions. I think it’s important that both characters involved get the same amount of development out of writing a thread, and I really hate the idea of being imbalanced as far as that goes (more on that below). That said, I’m always perfectly down to spitball plot ideas and tweak/refine other concepts because I really do enjoy plotting, it’s just super important to me that things are communicated clearly. I get extremely distressed and frustrated IRL if people just kinda throw stuff at me, and it often kills my muse.

WHEN YOU NOTICE THE PLOTTING IS RATHER ONE-SIDED, WHAT DO YOU DO?: I make an active effort to come up with plots that are engaging and beneficial fairly equally to both parties. I mentioned this above, but especially in the case of writing my healer characters, I have a huge disdain for characters being used as tools to further development while getting nothing substantial in return. That said, I try to be very aware of this in terms of a potential writing partner being on the receiving end. IMO it feels like shit, but I definitely don’t want to make someone else feel that way either. That said, so long as stuff is plotted out clearly and me and the writer are both okay with it, then it’s fine. COMMUNICATION IS KEY, BASICALLY.

HOW DO YOU USUALLY PLOT WITH OTHERS, DO YOU GIVE INPUT OR LEAVE MOST WORK TOWARDS YOUR PARTNER?:  I kinda just like to throw spaghetti at the wall and whatever sticks, I’m down to fly with. I have a lot of ideas, but again, I like to give my partners the option of doing whatever they’re comfortable with, and h aving equal contribution opportunities.

WHEN A PARTNER DROPS THE THREAD, DO YOU WISH TO KNOW?:   YES / NO / DEPENDS.

- AND WHY?: Everyone has their own circumstances, I really don’t mind. If it’s one I’ve been especially looking forward to, I might be bummed, but it’s no skin off my nose really.

WHAT COULD POSSIBLY LEAD YOU TO DROP A THREAD?: I don’t typically drop threads or abandon them during their writing. The only thing that would make me do so is offensive content, or huge plot elements being introduced that makes my character ooc and wasn’t previously discussed during plotting.

WILL YOU TELL YOUR PARTNER?:   YES / NO / DEPENDS.

IS COMMUNICATION IN THE RPC IMPORTANT TO YOU? YES / NO.

-AND WHY?: I already feel like I need to take a lot of extra steps to understand others and be understood, and that isn’t something often reciprocated. In my experience, just honest communication is the quickest solution to issues that crop up during writing. For those who HAVE actually had me reach out to them in this way, I really do try to be polite and respectful while being straightforward so the situation can be resolved without any hurt feelings.

ARE YOU OKAY WITH ABSOLUTE HONESTY, EVEN IF IT MAY MEANS HEARING SOMETHING NEGATIVE ABOUT YOU AND/OR PORTRAYAL?: As long as it’s constructive, and not merely negativity, I welcome it. After all, I can’t fix a huge flaw in my writing without having an alternative solution. I’m open to accepting feedback and critique, especially wrt Meninas since my portrayal is quite a large departure from popular fanon perception (from those who choose to pay attention to her, lol), but I also thrive on suggested remedies and solutions to issues in my writing.

DO YOU THINK YOU CAN HANDLE SUCH SITUATION IN A MATURE WAY? YES / NO.

WHY DO YOU RP AGAIN, IS THERE A GOAL?: I like to tell stories, and I like to tell narratives that take root in emotional expression and how those feelings can act as a vehicle to the storytelling. I want to move people through feeling, because it can be a powerful experience. I use a lot of inspiration from themes in my other favorite series, as well as inspiration from my own personal experiences as well. I tend to pick characters who have one or two traits in common with myself, whether those be negative or positive. I’m very excited to share all the things I have planned for Meninas, as she’s certainly my most ambitious project to date.

WISHLIST, BE IT PLOTS OR SCENARIOS:  For Meninas specifically, I want to interact with Squad 11 and Squad 9 during the CFYOW verse I have planned. Hisagi specifically would be interesting because of the clash of ideals, in addition to being the only other living person to be able to relate to the horror of being under Pepe’s thrall. I’d also like to steal Ikkaku’s bankai, and have more fight scenes. Lastly, Meninas doesn’t do much of anything in CFYOW, so more interactions with Mayuri and Squad 12 would be cool.

THEMES I WON’T EVER RP / EXPLORE: I don’t mind briefly referencing darker themes in my writing, especially wrt my own personal experiences, but I want to be very clear that I refuse to write at length or romanticize these themes. I refuse to write anything involving rape, homophobia, transphobia, racism, pedophilia, etc, with this in mind.

WHAT TYPE OF STARTERS DO YOU PREFER / DISLIKE, CAN’T WORK WITH?: Unless previously discussed, I struggle with starters that have a character pushing mine away. If the situation is super OOC for my character to be in, or frankly too mundane. In Meninas’ case, most domestic stuff is a snoozefest for me (but I LOVE this for other characters).

WHAT TYPE OF CHARACTERS CATCH YOUR INTEREST THE MOST?:  *saoirse ronan voice* Women. UHHH but no, for real... I like fleshing out female characters quite a bit. Personality types are varied, but I like characters who have some level of nuance to their emotional expression whether it’s an internal or external struggle. I like powerful women too, and the exploration of “strength” as a theme (esp at the intersection of the theme of “femininity” and its expressions) whether this is external strength or internal fortitude. I think I play a wide variety of characters who have vastly different thoughts, beliefs, and forms of expression, but I try to find something in common with who I portray to act as a touch stone. I also like characters who have themes of “justice” and nuanced morality.

WHAT TYPE OF CHARACTERS CATCH YOUR INTEREST THE LEAST?: 99% of male characters. And I also hate tsunderes gjklsdjfd

WHAT ARE YOUR STRONG ASPECTS AS RP PARTNER?: I really like my writing style especially wrt using emotion to set a cinematic scene and overall tone. I think I’m really strong with conveying emotion, especially with things that are often unspoken. I try to communicate with partners clearly and establish rapports. I love writing headcanons and have a TON of plot ideas as well.

WHAT ARE YOUR WEAK ASPECTS AS RP PARTNER?: Oh I’m the slowest replier on the planet and I’m apparently intimidating lol

DO YOU RP SMUT?:  YES / NO / DEPENDS.

DO YOU PREFER TO GO INTO DETAIL?: YES / NO / DEPENDS (i prefer to go into detail about sensations, rather than the actual acts as it comes off stifled and weirdly technical)

ARE YOU OKAY WITH BLACK CURTAIN?: YES / NO

- WHEN DO YOU RP SMUT? MORE OUT OF FUN OR CHARACTER DEVELOPMENT?: Honestly I just do what Meninas tells me.

- ANYTHING YOU WOULD NOT WANT TO RP THERE?: Kink stuff is weird territory for me, absolutely gotta be discussed in private and comfort levels clearly established.

ARE SHIPS IMPORTANT TO YOU?: YES / NO. Relationships in general rule, and while I do have a romantic ship that plays a large part in Meninas’ plot, the romance comes secondary to the plot itself. I really enjoy writing and developing romances, but more than that I like establishing connections. I love the relationships I’ve got planned with Giselle, Candice, Liltotto, and Bambietta because there are going to be a LOT of drastically different things that inform my portrayal of Meninas coming from these relationships (both positive and negative, but ultimately places of growth).

WOULD YOU SAY YOUR BLOG IS SHIP-FOCUSED?: YES / NO. Like I said, plot comes first. And especially in the case of Meninas, she has a lot of self exploration and reflection to do before she can engage in a healthy relationship or address any feelings of romance. I do place a large focus on the formation of her relationships and how they shape the way she relates to other people and grows as a person, but I am extremely sensitive to making sure I’m not writing a female character who’s entire development is dependent on a romance with a male character- perish the thought lol.

DO YOU USE READ MORE?:  YES / NO / SOMETIMES WHEN I WRITE LONG STUFF.

ARE YOU:  MULTI-SHIP / SINGLE-SHIP / DUAL-SHIP  —  MULTIVERSE / Singleverse.

WHAT DO YOU LOVE TO EXPLORE THE MOST IN YOUR SHIPS?: For Meninas, it’s a matter of her acknowledging, understanding, and accepting that she can be worth more than how useful she is to others. She had a series of traumatizing and character defining experiences regarding love, romance, and personal worth that strongly shaped the way she perceives her relationships to others and her emotional expression. Trust is another huge factor for me, Meninas needs to be around someone she believes in. Strength is another aspect. She likes someone who challenges her, keeps her on her toes, and is sturdy like physically. Because she’ll break you. THAT SAID- Meninas tends to be open wrt her body, but closed off when it comes to her heart. Hate to see it, love to write it.

ARE YOU OKAY WITH PRE-ESTABLISHED RELATIONSHIPS?: YES / NO. As long as the premise makes sense. I like relationships to have some matter of significance and planning, especially because of how I’ve written the way Meninas picks and chooses who to get close to in Silbern depending on what suits her interests. Genuine friendship is a weird thing for Meninas, as most of her relationships are formed out of convenience. If you aren’t useful to Meninas’ schemeing, then she has no interest in dealing with you beyond platitudes and keeping up appearances and will interact with you as such.

► SECTION ABOUT YOUR MUSE.

- WHAT COULD POSSIBLY MAKE YOUR MUSE INTERESTING TOWARDS OTHERS, WHY SHOULD THEY RP WITH THIS PARTICULAR CHARACTER OF YOURS NOW, WHAT POSSIBLE PLOTS DO THEY OFFER?: WE LOVE DUPLICITOUS WOMEN! No, but at the core of my Meninas characterization, the sentiment is “Everything is not as it appears” even down to the relationships she has with others. Meninas’ entire personality is constructed as a survival tactic from an early age (in addition to being a way to make herself more useful as a tool to others, and thus seen as having more worth in general), and as a result, she hasn’t really allowed herself to live life as a fully realized person. Her plots generally offer silent rebellion, playing a role in regards to her self presentation, chaotic mean girl level bullshit, and cool fights/training. Also you get to interact with a big buff lady. That said about her personality, it depends on the verse. CFYOW Meninas will be more unhinged, while post-CFYOW Meninas will be more honest and rowdy.

- WITH WHAT TYPE OF MUSES DO YOU USUALLY STRUGGLE TO RP WITH?:  Muses who are standoffish or disengage right at the start. Meninas doesn’t interact with people without a certain purpose, so if they aren’t interested, she’s not going to be either.

- WHAT DO THEY DESIRE, IS THEIR GOAL?:  Revenge, strength, redefining what “power” means in terms of how the world works. She wants to see the Shinigami dead for their role in her parents deaths, and feels the same about Yhwach.

- WHAT CATCHES THEIR INTEREST FIRST WHEN MEETING SOMEONE NEW?:  Ability, potential threat, perceived strength, where loyalty lies; how potentially useful you can be to her.

- WHAT DO THEY VALUE IN A PERSON?:  Strength both in a physical sense, but also in belief and convictions. Honesty, and understanding the flaws of the world they live in.

- WHAT THEMES DO THEY LIKE TALKING ABOUT?:  Fighting, beauty, freedom, abolishing Quincy classism based on blood purity, music, fashion, blacksmithing.

- WHICH THEMES BORE THEM?: Blind loyalty to Yhwach, talking about the horrors of war as if it doesn’t concern them, Bambietta, Quincy supremacy,

- DID THEY EVER WENT THROUGH SOMETHING TRAUMATIC?:  Her parents were killed in the first Quincy war and she was left abandoned and grew up literally fighting for her life and living on the streets. She often likens fighting pits to the bowels of Hell (and I often play with the ironic theme of crawling out of hell to appear as an angel or something divine). She is consumed by a quest for revenge, and strongly believes her ends will justify the means taken to fulfill her ideal. As a direct result of these experiences, her emotional health and maturity is severely affected, and she doesn’t view herself as a person worthy or capable of feeling as much as a tool who, in the right hands, can be utilized to bring about the revenge she craves.

- WHAT COULD LEAD TO AN INSTANT KILL?:  (1) Men who feel non-consensually entitled to her body. That said, she’s done a fairly excellent job at maintaining control and an unassuming threatening nature despite the widely known understanding of her Schrift ability and how it augments. (2) Someone touching her Quincy cross, as it’s her most precious and private item. (3) Anyone who dares get in the way of her plans that can’t be manipulated in some other useful aspect.

- IS THERE SOMEONE /-THING THEY HATE?:  Meninas hates Yhwach, and the Shinigami most predominately, but she also harbors disgust for Hollows as an instinct. That said, her young life was spent detached from Quincy culture (in addition to being a Gemischt and the inherent isolation that comes with that status), so despite her early induction into the Wandenreich ranks, Meninas does not harbor the same Quincy nationalism and loyalty that others of her race do. They’re a means to an end, and just happen to help her become stronger.

IS YOUR MUSE EASY TO APPROACH?: YES / NO. - Best ways to approach them?: She comes off as easy to approach, but if you want genuine Meninas I’m sorry the number you’re trying to reach has been disconnected. Goodbye!

SOMETHING YOU MAY STILL WANT TO POINT OUT ABOUT YOUR MUSE?: Everything I’ve written about her is based in headcanon! I’ve got both a lengthy biography as well as headcanons gathered in the sidebar links on my blog.

CONGRATS!!! You managed it, now tag your mutuals! ♥

TAGGED BY: @bazzardburner​ TAGGING: i think this has made its rounds so steal it!

[mediaeval-muse]

Book Review

Spin the Dawn. By Elizabeth Lim. New York: Alfred A. Knopf, 2019.

Rating: 3.5/5 stars

Genre: YA fantasy

Part of a Series? Yes, #1 of the Blood of Stars duology

Summary: Maia Tamarin dreams of becoming the greatest tailor in the land, but as a girl, the best she can hope for is to marry well. When a royal messenger summons her ailing father, once a tailor of renown, to court, Maia poses as a boy and takes his place. She knows her life is forfeit if her secret is discovered, but she'll take that risk to achieve her dream and save her family from ruin. There's just one catch: Maia is one of twelve tailors vying for the job. Backstabbing and lies run rampant as the tailors compete in challenges to prove their artistry and skill. Maia's task is further complicated when she draws the attention of the court magician, Edan, whose piercing eyes seem to see straight through her disguise. And nothing could have prepared her for the final challenge: to sew three magic gowns for the emperor's reluctant bride-to-be, from the laughter of the sun, the tears of the moon, and the blood of stars. With this impossible task before her, she embarks on a journey to the far reaches of the kingdom, seeking the sun, the moon, and the stars, and finding more than she ever could have imagined.

***Full review under the cut.***

Content Warnings: blood; violence; torture; mentions of slavery, misogyny, sexual content

Overview: I can’t remember how this book fell under my radar, but I decided to pick it up because the emphasis on sewing was appealing. I’m a bit tired of fantasy books which focus entirely on fighting and devalue “soft skills,” so it was a refreshing change to read something that centered the labor that goes into garment-making and imbued it with a kind of magic. While the plot was very strong, in my opinion, the main thing that prevented me from giving this book a higher rating was the writing: so much happens in this book that some things felt rushed, and I would have liked to see more poetic prose when it came to describing the garments of the magical elements in Lim’s world. But other than that, Spin the Dawn was an enjoyable read, and I’m very much looking forward to the sequel.

Writing: As I mentioned above, Lim’s writing has a tendency to move too quickly. At times, this quick pace was great - Lim doesn’t stretch out scenes that don’t need it, reminding me a bit of Tamora Pierce’s books. But at times, it was somewhat detrimental. A lot happens in this book, so Lim had the challenge of getting everything in without extending the length too much (my copy is 387 pages). As a result, there’s not really a lot of time for suspense. Major events are over in a few pages, and emotional scenes are whipped through quickly in order to get to the next plot point.

The quick pace also means that not a lot of time is given for description. Sometimes, the lack of description was fine - fantasy has a tendency to overdo it, so it’s nice when an author is discerning with what gets described and what can be glossed over. In this case, though, I was hoping for a little more, especially when it came to describing the garments that the main character makes. With noticing and making clothing such an integral part of Maia’s identity, I was hoping for more vivid imagery when she notices or creates a garment - something a little more than a dress being light blue or a sleeve having pearls and embroidery. She does a little of that when she makes a magical dress, but in my opinion, it should have happened every time. I wanted the clothing to come to life before my eyes, especially since most of the garments are made using magical assistance.

Along similar lines, I think Lim could have done more to bring the language of sewing into the way Maia sees the world. The prologue and opening chapter in which Maia describes her family is very good with this - she describes her story as a series of “knots,” talks about how one of her brothers gave her a poetic vocabulary to describe colors, and even refers to clouds having “seams” at one point. I wish Lim had carried over these stylistic choices to the rest of her novel; her prose for the rest of the book seemed sparse in comparison.

A couple of nitpicky things: one, Lim has the tendency to explain to the reader what can be inferred. The story is narrated in Maia’s first person POV, and there are many times when Maia would bluntly state something that was pretty obvious from the context, or when showing would have worked better than telling. Lim also has a tendency to use exclamation marks in Maia’s inner monologue, which I personally don’t care for. But these things happened infrequently, compared to other novels I’ve read. They were noticeable, though.

Plot: This book follows our protagonist, Maia, as she enters a contest to become the next imperial tailor and as she is tasked with fashioning three gowns using  the laughter of the sun, the tears of the moon, and the blood of stars. The narrative elements themselves were engaging; I think Lim did a good job of crafting a story while keeping sewing and tailoring at the heart of the adventure. At first, I was worried that sewing would take a backseat to politics, but Lim skillfully ensured that the sewing was always at the center, and that it was intertwined with the politics in ways that meant it couldn’t be discarded.

I do wish more time was given to creating suspense within this narrative. As stated above, this book moves quickly - so quickly that there isn’t really a lot of time to be worried about whether a character might succeed. While the story itself was fun, and I am in no way advocating for it to be made darker or more violent, I do think the book could have benefited from a slower pace where it was warranted, such as in each trial to obtain the materials for the dresses.

I also wasn’t very convinced by the “big bad” who shops up towards the end. Without giving anything away, I will say that their motivations were somewhat flat - it seemed like they just wanted to be bad because they were bored or something.

Characters: Maia, our protagonist, is fairly likable as a girl who disguises herself as a boy in order to prove something to a patriarchal society. I really liked Maia’s internal struggle over whether or not magic enhanced or undermined her skill as a tailor, and I also liked that she was direct and blunt when needed. I do think, however, that she is a bit too reliant on others to the point where she is somewhat passive. She only really initiates her own actions at the very beginning and very end of the book. Everything in between is determined by others - Edan, for example, tells her where to go to get the materials for her dresses, as well as what to do to pass the trials. He also manages their travel, their rations, everything, so that Maia seems to be just along for the ride. Aside from deciding to disguise herself in the first place and deciding how to handle her fate at the end, Maia shows little initiative. Placing more emphasis on her active decisions could have helped, even in situations when she was being acted upon or responding to something.

Edan, the Lord Enchanter and Maia’s love interest, is charismatic and teases Maia without being cruel. I liked that he was presented as someone who actually cares for Maia - he notices what foods she likes and what her favorite color is, and though he teases her, he’s never a gruff, jealous, violent asshole in the way that so many YA love interests are. I also thought the limits to his magic were interesting and helped temper his abilities so that he wasn’t over-powered as well, though I disliked how he was also used to conveniently explain lore and worldbuilding when Lim could have done that in other ways.

Many of the side characters were also nuanced so that they felt like complex characters with clear motivations. Lady Sarai, the emperor’s reluctant fiancee, is constantly making the tailors do ridiculous or impossible tasks, but it’s revealed that she does so to prolong her engagement and, possibly, defer the wedding. Thus, she appears simply cruel at first, but her homesickness and frustration as being a pawn in a larger political game makes her sympathetic. Likewise, the emperor is given some nuance in that he’s seemingly kind and fair to whoever he meets, but is reliant on Edan’s power to a concerning degree. I liked that his reliance on Edan and magic was understandable (he’s trying to prevent war, after all), but the personal costs of that reliance were questionable, making for an interesting moral dilemma.

But again, I disliked the “big bad.” I didn’t think they were woven very well into Lim’s world, and they appear so suddenly that they felt convenient for plot to happen, rather than a real threat.

Other: While the worldbuilding of this book was interesting, I think Lim could have done a lot more to make it seem more real and intwined with the lives of A’landians. Much of the information about magic, religion, history, etc. is dumped on the reader by Edan simply explaining things to Maia, making the worldbuilding feel like it existed only to make plot happen (rather than make a rich setting in which plot happens, if that makes sense). Out of all the things, I think the Seven Years’ War was the best incorporated because there was a personal element to it - Lim spends the opening chapters detailing how two of Maia’s brothers are killed and how a third is crippled, all while narrating how Maia and her father have to get by on their own. The complex feelings about the emperor and the shansen (the antagonist and whose daughter is the bride-to-be) were thus well-placed and felt real. The magic, however, seemed to appear only once Maia left her home. Maia has magic scissors that belonged to her grandmother, but she never knew about until the contest, and so little time is spent to thinking about who her family is and why the scissors only work for her that the magic didn’t feel personal at all (until the very end, conveniently). But aside from Maia’s personal story, I would have liked magic to be a little more integral to the world of A’landi, even if it was only reserved for the upper class. The same goes for the religion - apparently, religious figures and stories are at the center of Maia’s impossible dress-making task, but Maia is something of an atheist. While I did like the personal angle that explained why she doesn’t worship any gods, I do think religion could have been more integrated into the story to make it feel present (for example, maybe during the contest, people are given breaks to worship at the temple, and it’s understood to be mandatory - just an idea). Same thing with the inclusion of ghosts and demons - they only showed up when convenient.

A few words about the romance: I did like that Edan was attentive and not a raging jerk, as well as the reason for why they couldn’t be together. It made for an interesting predicament, and I’m interested to see where things go in book two. That being said, because this book moves so quickly, not enough time was devoted to developing the emotional connection between Edan and Maia. I would have liked to see more examples of how they enrich each other’s emotional lives, not just how Edan finds Maia interesting for dressing as a boy and refusing his assistance, or how Maia benefits from Edan’s magic. The teasing was fun and helped make for a cute dynamic, but I wanted a bit more. For example, how does Edan bring out the best in Maia, and vice versa? 

Continuing with the Series? Yes.

Recommendations: I would recommend this book if you’re interested in fashion, dress-making, magical garments, sewing contests, and court politics.

[thetypedwriter]

We Hunt the Flame Book Review

We Hunt the Flame Book Review by Hafsah Faizal

This book was just so….so odd? I really really wanted to like it, and to a certain extent, I found it interesting, but interesting is ocean’s away from something being likeable. In the book We Hunt the Flame by Hafsah Faizal, this rings especially true, for a number of incomprehensible reasons. 

    First. Let’s switch things up by starting with the positives. I loved the cultural aspects of this book. Whether imaginary or nuanced and based off Faizal’s own cultural background and experiences it was rich and powerful in relation to culture, cuisine, tradition, and most especially language. It was so fascinating to read about this separate world that came across as so fantastical and yet so real at the same time because of Faizal’s very intricate work with all the above.

It made the story poignant and gave it depth that is quite rare to find in YA novels, nay any novel I’d say, and it was deeply appreciated. Whether it was small details with clothing, references to delicacies, or more in depth thoughts on religion and morals, I drank it up like someone dying of thirst. 

    But other reasons for dying, namely, the obtrusive and conspicuous negatives. Let’s break it down into one simple summation: THIS BOOK WAS CONFUSING. 

    Now. Just for the record, and I’ve previously mentioned this before on other book reviews, but I am currently an English teacher. I teach young minds the art of reading and writing for a living. In addition, I read voraciously in my spare time, write and produce my own products, have a bachelor’s degree in English and a master’s in Educational Studies. 

    I would like to think that I’m not a stupid person. 

    This book made me feel like a stupid person. 

It goes without saying that this is a feeling I don’t particularly enjoy. Now I’ve mentioned this before, but many authors employ the technique of say, don’t show, where they tell me all about their characters and their characterizations but don’t show me any of it and why. Faizal does the exact opposite. 

    She shows so much and without any explaining that it is impossible to fully grasp what is happening or why or even how. More than half of the duration while reading this book I was just simply flabbergasted. And there is a difference between a book of fantasy and a book utilizing fantastical techniques. This book was neither the former nor the latter. It was just all over the place. It didn’t make any sense. 

And Faizal made very little attempt to rectify this or explain to the reader what the hell was happening. For example. Why is there a giant, magical deathly forest called The Arz? Who knows? Why does it take the little cohort of assassins and immortal elven equivalents and the huntress weeks to find the Jarawat and merely seemingly an hour to get off?

Why was Zafira sleeping and then suddenly in some sort of dreamscape pseudo reality from the past? Why would the Lion of the Night just have some sort of fortress on Sharr and once escaped, they just nilly willy found a place to rest for the night? Like that would be fine? Like he woudln’t seek them out and torture them immediately?

Confused yet? Good. Now, you know what it is like to read We Hunt the Flame by Hafsah Faizal. If that’s not a feeling you enjoy...well then. I don’t blame you seeing as I didn’t either. 

This book was not entirely bad, as listed above, but it was too difficult to decipher half of the time which put a bad taste in my mouth. I am quite the fan of complex storylines and intricate character relationships and puzzling puzzles. This book is not any of those things.

It’s like Faizal has the personal We Hunt the Flame for Dummies while the rest of us squander in confusion. It’s like whole chunks of the narrative were left out unintentionally, and while it might have made sense to the writer it did not make sense to me. 

The characters as a whole were alright. I liked Altair, which made the end just plain baffling, how on earth do you just forget about him????!!!! And the romance between Zafira and the Prince of Death was typical YA absurdity but without the typical charm-oh? This young man with scar burns on his back has killed multiple people, perhaps hundreds, but he’s got pretty gray eyes so it’s all fine and dandy, right?

Wrong. 

Whew. I’m exhausted. Also another feeling I had while reading this novel. Overall, if you did not catch on by this point, this book was not very good. While there were good elements, the weight of confusion and poorly-written fantasy made this a too-real headache no one has time for. 

Recommendation: Don’t read it? If you’re looking for culture and fantasy interwoven beautifully together then I would look elsewhere. Perhaps at my other book review Darius the Great is Not Okay. This book’s goal of trying to be edgy and deep just came off as bewildering and ridiculous and while there were positives (isn’t there always) it did not outweigh the time and effort put forth trying to understand the so-called layers this book put forth. 

Score: 4/10

[violet-bookmark]

The temple at Landfall, by Jane Fletcher

"Lynn is an imprinter, one chosen by the Goddess to receive her greatest gift, that of creating new life. So why does she feel like a prisoner in the Temple?

When Lynn learns that she is to be relocated to the temple at Landfall, the arduous journey seems more like a gift--her last chance to see something of the outside world. She does not anticipate the dangers and temptations she will encounter along the way, nor does she expect Lieutenant Kim Ramon, an officer in the squadron of Rangers assigned to protect her. Despite all prohibitions forbidding it, attraction grows between the two women.

Against them stand the powerful religious Sisterhood and their holy warriors--the Temple Guards. In a world ruled by the Church, what chance is there that Lynn can escape?"

Actually this world is female-only and everybody is a lesbian, so it's not as if it is ruled by the Catholic church or something, as the blurb seems to imply. And I don't think that catholicism could be so closely replicated in a society where only one sex exists, but I digress.

The romance between the protagonists was fine, I liked it even when I think they fell for each other rather quickly. I believe it from Lynn's perspective because she had been secluded in a temple since she was like 10, only surrounded by elderly women or priestess that were covered up to their eyes and rarely spoke to her, but from Kim's side... No. Maybe seeing more of the journey to Landfall from her perspective would have helped matters. Some of Lynn's quotes were very relatable and good (I believe I have posted some here) and her pain at thinking that she would not ever be able to be with Kim was almost palpable. The romantic and steamy scenes were sexy and well-written, and they felt organic given the circumstances.

I loved how the priestesess constantly jeopardised each other's ascent to power, it was very realistic and a nice detail to the story. It is one of the strongest parts of the worldbuilding to be honest, since it demonstrated that powerful religious women were a force to be reckoned with in-world (at least until a certain point in the story that made me want to slam my head against a table).

The writing was similar to that of Shadow of the knife, but lacked a depth and maturity that SOTK had and that made it such a punch in the face memorable story to me.

Lynn was a good protagonist, very defined by her nostalgic memories of life outside the temple. Which was fine, but she didn't seem to care a lot about anything except nature. I found it very unbelievable that she wasn't more weirded out by the journey given how she was leading a life of reclusion and suddenly she was on a trip with guards and people all around her. She focused a lot on how good it felt to be out of the temple, but what about the people? Isn't being surrounded by people weird after you spent your life in the temple? She never cared about anyone on there so it's pretty safe to say she never had any friends, which brings me to my next point: for someone who had lived such a poor social life she was very stable, not socially starved to the point of being easily manipulable, full of panic towards social interactions or other things that social isolation tends to cause. She mentions wanting to have sex desperately, but that's about it. I'm not buying that. She was nice and I liked how she took responsibility for her actions, but I wish we knew more about her. After reading the book, I still don't feel like I know her that much.

Kim was alright, but her past was boring. Very typical. Seriously, authors, stop killing families. There are other ways to give lifelong trauma to the protagonists. I hated how her character lived through so much and managed to stay so static during all the story. Like hell all this happens to somebody and they stay completely unmoved throughout the whole thing. I don't believe the whole "This is because Kim is very mature, also her past is already solved bc she killed the bandits that killed her fam in the past" that the book tries to sell me. Why would you play up this conflict if it was already solved? I don't care that this is a romance book, it is just lazy to just have all the character development outside of the story. And then of course Kim has solved everything but the part about her trauma that makes her afraid to have a girlfriend, because you know, we needed something to spicy up their relationship. I won't go into detail but they had better ways of having a conflict between the two that didn't rely on getting past traumas that were already solved. One of them being that the foundation of everything they believed in was a lie. It would have been so much more interesting to have that as the main conflict of their relationship!

The action scenes were very well-written, but they lacked something that would have made them truly epic. And that would have been to have a real sense of danger; the problem with the story is that we know the Rangers are amazing and could kick everyone's ass in seconds because they are just that tough, so we don't worry about them dying at all, really. That made the action scenes really lackluster sometimes, almost as if they were only stage decoration for the romance. Which is fine, but the book was so focused on them and they were such an important part of the story that it didn't feel right. It is a shame, because some scenes were really well-written and had a lot of potential to be intense and memorable, and to define the characters or give them some good development. All of the elements necessary were there but then it simply didn't happen. It was beyond frustrating; the characters learned a lot of new stuff and faced loads of dangerous situations but they didn't change at all, which I found unrealistic taking into account they just found out the foundation of everything they believed in was a lie. They all just go like "Oh well that makes sense, I don't believe in this thing anymore despite still having some sensibilities that come from this thing", there might be people who act like this, no doubt, but twelve or more different women? No way.

The plot had a lot of things going on that never reached their full potential, and I think it would have benefited from being kept simpler, especially when this was the author's first book. I just went to check goodreads in order to paste the blurb in the book to the begging of my review, and somebody said "I felt like we should have spent more time in Petersmine watching the characters fall in love, and definitely more time in the temple at Landfall! It's what the book is named after" and I agree. As I said, this book wanted to tackle too many things. If the author really felt like she had to tackle all those topics at once she should have prioritized and spent more time in the central conflicts, while playing the others out in a more subtle manner.

This was her first book so I feel like I should be more forgiving, but I still have to vent about it. I will always be eternally grateful to Jane Fletcher for giving us the Celaeno Series, because it is amazing. How many fantasy/sci-fi series where all the characters are exclusively female and lesbian do we have? What she did was incredible and groundbreaking, but the first book was obviously her first one. I hear there are great things coming in the next one, and I have noticed that the author has gotten way better at writing/worldbuilding since this book was published, so I believe in her.

The explanation the author gave about why the sisters "hide" the true history to the public was not good nor believable. "Nobody reads those books anymore, so they don't know what really happened" really? What the hell? Are you telling me that not even one woman from the temple has taken the time to read one of the books from their library? This doesn't make the Temple look sympathetic, it makes them look beyond stupid. Humans are curious by nature, like hell nobody has even skim-read one of their books. This is something I disliked and that got me tired from this book: every woman that had any ties to religion (temple guards, sisters, etc.) was mortally stupid and ended up either dead or in a bad place. This lack of nuance bothered me: I dislike religion as much as the next person, but this was just too sloppy. Religious people are not stupid; some are stupid, yes, and some do/say stupid things because of religion or because they are plain bigots, but come on, the majority of them don't expect their god/goddess to do things for them that are within their control (like packing their suitcases). Also, does the author think that religious people can't conspire to hide shady things? Lol.

And I don't believe that this world has only one religion. Somebody could interpret the texts of the Elder-Ones way differently and come up with another religion. The author only made one because she wanted it to parallel christianity (the religion she wanted to criticize) and fair enough, but it makes for poor lore. Even christianity has several branches that interpret the bible differently or practice their faith in a different way, and I just don't believe that 1) nobody bothered to read the Elder-Ones texts ever and 2) nobody had a different interpretation and started a different faith, or at least a civil war.

Another thing that disappointed me was how incompetent the guards were. I liked it in the first bit, because the guards that escorted Lynn were from a provincial city and only used to face people, not mountain beasts. That was pretty nice and realistic, but in the second arc there was no excuse for the seasoned temple guards in Landfall to be as incompetent as they were. How the hell has the Temple survived for that long and gained so much power when everybody within its walls is either mortally stupid or terrible at her job?

In the other books both the Rangers and the Militia have their fair share of competent and incompetent women in them, but when it comes to the Temple everyone is just useless, stupid or evil. I'm not having it.

If you have read the book, you will remember that scene with a nice, truly devoted, grandma-like sister that the author wrote to prove that "there are also nice people within the church", which is basically the cliché that pull all books that poorly criticize religion. To any writer reading this: stop using this cliché, I beg you. Do a nuanced criticism of religion instead.

I did like how the sisters reacted to Lynn's and Kim's relationship, that was very well done. Especially the part where they tried so hard to distort Kim's feelings and character to make her look like a bad person on Lynn's eyes. I also loved the little details about Gina's village, the culture that was starting to form around it and the militia/rangers/temple guards dynamic and rivalries, they were very believable and good at rounding up the worldbuilding.

I can't believe what the author pulled at the end of the book. Really, more than 70 pages in the PDF version from Peter McKay's diary, a character that had minimal involvement in the story. I was very uninterested, even if his diary was kind of interesting. Couldn't she have put parts of his diary in little chunks at the begging of every chapter? It would have made the info dump much more bearable. I might comment on it in another post because there is a lot of lore/things I would like to discuss and I still haven't finished it yet.

I recommend this book if you like stories like Romeo and Juliet but set in a lesbian sci-fi universe, and where the characters fight against society.

[thesummerstorms]

Salty ask #s 5, 7, 19 for either star wars or dragon age, please!

Send me a fandom and a number for Salty Fandom Opinions

Dragon Age first, for once, SW under the cut. Sorry these are late.

5. Has fandom ever ruined a pairing for you?*

Alistair/Cousland, particularly a Queen!Cousland which I was mostly neutral to in and of itself except there were so many fans who did not know how not to be obnoxious about it and their “true canon” mindset, and then eventually I came to despise some elements of the fantasy itself. To each their own, but, uh, keep the more vocal fans away from me please.

Also, Solavellan. I was never huge on Solas to begin with, but  I suppose this could be done in a properly heart breaking way. But the particular power/relationship dynamics a lot of the fandom seems to run with made me feel itchy even before Trespasser came out.

7. Is there anything you used to like but can’t stand now?*

I don’t know about “can’t stand”, but my first playthrough of DA2 as a mage!Hawke, I liked Anders a lot, but the ending (and the complete lack of sense or way to mitigate the ending despite any of your choices) made me grumpy. I haven’t actually ever done a second complete run through of DA2, though, so maybe it’s time to let adult Rev reconsider teenage Rev’s opinions.

19. What is the one thing you hate most about your fandom?

Honestly, I stay out of a lot of the direct fandom except for a short period after DAI was released, but uh... I hear about the racist shit and the stuff like the “bi Dorian” mod. Which is a dumpster fire look and would be regardless of the fandom. 

As far as the actual material goes, I love digging into the lore... but I’d really like it if BioWare stopped giving us stuff to prove how elves brought their enslavement on themselves/all the minority religions are wrong/mages bring their imprisonment on themselves/Dalish abandon their kids, etc, etc, etc until I get at the very least equally convincing proof that Andraste was actually a mortal witch and the Maker was a spirit or a demon or something, idk. Like, I like nuance, I do, but...

5. Has fandom ever ruined a pairing for you?*

Carth/Revan... kinda? It’s like... one part burn out with fandom fem!Revans who were super soft and retiring and gentle and all about having babies with Carth sort of shit and one part burn out with the actual romance in game with Carth.

Actually, if we’re really being fair, it’s my reaction to fandom, but I suppose in this rare case the fandom didn’t do anything so much as I resent a female Revan that’s not as sharp and bloodied and broken and conflicted and above all purposeful as the one in my head.

There are definitely other fandom pairings I hate, and that I hate the way fandom writes, but I hated them before fandom; fandom antics are just the cherry on top.

7.  Is there anything you used to like but can’t stand now?*

Kal Skirata.

Being serious here. I read RepComm for the first time at... 13? Ish? And being a thirteen year old, I absolutely fell hook line and sinker into the whole “Papa Kal” thing. It took reading mutual’s meta and some rereading in college to fix my perspective there.

And, in a related vein, 13 year old me liked Parja/Fi, Uthan/Mij, Kal/Ny, Jusik/Arla, etc mainly because they were canon. Now I just don’t shiop Kal/Ny and Uthan/Mij, but Parja/Fi (as written in canon, not some mutual’s headcanons) and Jusik/Arla became major squicks. 

And, again in the vein of not quite “can’t stand” but kinda sorta... child me cared about Padme/Anakin because it was the romance of the movie, and adult me is now just too exhausted to give a shit or pay attention to either one of them.

19. What is the one thing you hate most about your fandom?

Rampant misogyny would definitely be one... also the complete inability to treat literally anything with nuance in some corners.

[wondereads]

Personal Review (12/26/22)

From Blood and Ash by Jennifer L. Armentrout

Summary

Penellaphe, or Poppy, is the Maiden, a child chosen by the gods. Raised by a vicious duke and apathetic duchess, she finds her calling in helping those infected by the Craven, zombie-like creatures that roam outside city walls. At the same time the dreaded Atlantians and Descenters start making more direct threats, Poppy is assigned a new personal guard, Hawke, who makes her question things about herself and the world around her.

Plot 1  2  3  4  5  6  7  8  9  10

This book could very easily have been half the length it was. While the overall concept is fine if overdone, this book moves at the pace of a snail for really no reason. I could tell where the book was going, because this plot, a privileged member of society discovers the secret history of their world and gets involved in a rebellion, is fairly common, but the end of this book is around when the initiating event would be for most other stories. Most of this book was about developing the relationship between Poppy and Hawke, which was important, but I feel like I sat through the same conversation, over and over. By the time the thing with the duke happens, I was desperate for literally anything to occur.

I would say the thing that kept me reading this book was the worldbuilding. It took way too long for things to be explained, but when they did it was quite interesting. Also, I'm always down for a story where organized religion is the villain. If this book were not so popular and didn't have some fairly interesting worldbuilding (on top of the fact that a friend of mine encouraged me to read it), I probably would've DNF'd it.

Characters 1  2  3  4  5  6  7  8  9  10

I'd say the characters are probably the strong point of this book. While Poppy is a very typical protagonist (mildly naive, headstrong, and kind), she is characterized well. Her thoughts and actions reveal a lot about her with more showing than telling, which is an issue in more books than it should be. Also, despite the fact that this is a fantasy romance, Poppy does have genuinely close connections to people other than the love interest.

While I have my issues with Armentrout's writing, she can definitely write romantic tension. The relationship between Poppy and Hawke is well-developed, and it's one of the few parts of the story where I was really into it. I was genuinely invested in the romance, which was a pleasant surprise. However, moments between them that weren't romantic, such as the more plot-focused or political moments...they weren't bad, but like I mentioned before, I think they had the exact same conversation at least four times throughout the course of this book.

I do wish there was some more nuance to the antagonists. The duke and that one creepy guy (I can't remember his name) were just so obviously and unapologetically evil, and once Poppy discovers the true history of this world it's so one-sided. It would be much more interesting if the antagonists had more depth to them. We almost got it with the duchess, but it's not nearly enough. Some of the time spent on inane, repetitive conversations could have been devoted to that.

Writing Style 1  2  3  4  5  6  7  8  9  10

Ok, I have some issues with JLA's writing, but there are things I like about it too. First, as previously mentioned, I really like the way Armentrout does romance. The tension is palpable, and she did a good job of developing the relationship. The way she does action is also quite good; once again, great tension, and while it is fantasy and a little dramatic, it also feels so easy to follow what's going on.

On the other hand, this book has a lot of mystery and political elements, and that writing is pretty awful. It's so heavy-handed, and everything is stated so obviously; I feel like Armentrout thought her audience was unable to pick up on context clues. While it didn't really affect the plot or anything, it definitely pulled me out of the story as Poppy kept stating the most obvious things, usually multiple times.

Also, there's the issue of the pacing. This book goes on for way too long in my opinion, and there's too little content for such a long book. Major events are too spread out, and too much time is spent on little details.

Overall 1  2  3  4  5  6  7  8  9  10

This book, especially with what good things I'd heard about it, was mediocre. I will grant it a few things; the worldbuilding is intriguing, and the romance and action are well-written. However, it is twice as long as it needs to be, making it move at the pace of a snail, and the plot is very predictable. I quite like stories that critique organized religion, but some subtlety would be appreciated. The villains are so one-dimensional and obvious that it ruins the tension of the more political side of this book. It's alright, but I wouldn't lather this book with praise like it's been receiving.

The Author

Jennifer L. Armentrout: American, 42, also wrote Half-Blood, Obsidian, and Storm and Fury, owns a dog named Apollo

The Reviewer

My name is Wonderose; I try to post a review every week, and I do themed recommendations every once in a while. I take suggestions! Check out my about me post for more!