#mass effect ending analysis

[scribeofmorpheus]

Dragon Age Veilguard: Love, Wisdom and Pride

A very long Dragon Age post!

Warnings for: Veilguard Spoilers, Solavellan spoilers.

Okay, so I will preface this by saying that this ‘analysis’ primarily focuses on Solas’ arc; both romanced and unromanced. It isn’t intended to be a romanticised analysis, though it is very much enamoured with how a romanced Solas and his relationship with Lavellan foils (and informs my reading/reception of) that of Solas and Mythal’s relationship in Veilguard. There is a relationship I will address that I feel does parallel Solas and Mythal! Scroll down to “Reading Between the Lines” if you wanna skip my little intro below. Spoilers follow.

Truth be told, I wasn’t ever expecting much in terms of actually getting a sequel to Inquisition. The game dev market went through a tumultuous reshuffle before the remake madness breathed life back into many studios. Bioware game sequels (Mass Effect Andromeda) were underwhelming and not as fleshed out since the EA acquisition. I absolutely believe Bioware would have been shunted had Mass Effect Legendary Edition not been so successful. EA’s reputation was always lacklustre and underhanded, but laying off or losing several head writers attached to Bioware with almost two decades of work under their belts was the biggest red flag. Trevor Morris not being asked to return in exchange for a ‘bigger name’ was also a grave warning that returning to the atmosphere, ambience and world of Thedas that we knew was getting further and further away from a plausible reality. And on top of that, there’s the fact Solas was never intended as a romance interest during early development of Inquisition.

Solavellan seemed doomed!

Despite this, I still held out hope for a sequel, but I feared we’d always be in permanent Solavellan/developmental hell. Heck, I’m still waiting for a Beyond Good and Evil sequel—the game released in 2003! So, actually witnessing people play Veilguard, seeing reactions to it, seeing memes and gifs and essay pieces (like this one), it’s like my community has awoken again, and I never thought I’d see the day. Yet I am not blind to the fact we were robbed of so much potential. I knew thing’s wouldn’t live up to re-emerging expectations when Dragon Age: Dreadwolf was rebranded to Veilguard—the shift seemed to imply less of a primary focus on Solas (and apparently, according to the artbook, the early concept art proves this implication correct).

Things seemed even more dire when the devs revealed there was no tapestry mechanic. I had only one hope: that with the Inquisitor’s confirmed return, we’d get at least some form of catharsis for our Inquisitors (Lavellans and otherwise), if we couldn’t get the conclusions to so many storylines present in each of our worldstates. My main fear was that they’d go the clichéd Ultimate Sacrifice route (which happens anyway, but in a way that makes thematic sense given the stakes and heavily blighted worldstate).

Suffice it to say, there was a lot of evidence that Veilguard would disappoint me in the end. But it hasn’t. It hasn’t lived up to the many expectations and marks of excellence that the Dragon Age world built itself into with the first three entries, that’s for sure, but I am also just so deprived of conclusions, of endings (whether it be because TV doesn’t exist in a sustainable format anymore or that comicbook movies are made with a sequel in mind, never letting anything just “Exit Stage Left” gracefully; or the fact we live in a regurgitating content cycle with late-stage-capitalism where anything remotely profitable gets turned into a caricature of itself: Squid Game, Star Wars, etc.). The cycle is so exhaustive that I am actually at a point where I can say I am content with the ending we were given (on a Solas/Solavellan front), Veilguard gave me relief, and beautiful, achy pain to boot. Though I would absolutely be disappointed by both the "non-romanced Solas" endings, given that Solas winds up either "dying alone, forever" or turns to Tyranny.

Now onto the actual review of that Solavellan ending, Mythal and themes of Love!

Note: I have only gotten the ‘best’ ending in my first playthrough, but I also thought the consequences of not maxing factions would be more… dire? Another note, pls, if your romanced Inky swore to stop Solas, how does that ending differ, if at all? Let me know, I’m dying here!

Sidenote: I’m working on writing another review about my views on the ‘sanitised’ worldstate, the new companions (and why I think Varric was the wrong choice to have as an advisor in the game, given that the Inquisitor or Morrigan would have been more impactful; and not to mention that Cole or Briala should have been companions), removal of the tapestry and what it means for the future of stories in Thedas (The Story We Lost is such a poignant compilation of the sheer volumes of lost lore and depth that I honestly think I won’t go as in-depth on that review as this one), and why I think Veilguard is my final entry into Dragon Age.

Reading Between the Lines: What Pride Hath Wrought

One thing is for sure, Trick Weekes flourishes when writing within the ambiguities and complexities of meaning. This makes every word uttered by Solas so great to dissect, he's a god of lies not because he 'lies' but because he's so careful with how he phrases things, what he holds back, and what he reveals.

For instance, the famous Trespasser exchange where Solas mocks his own follies with sarcasm by saying:

“What is the old Dalish curse? May the Dread Wolf Take you.”

Then a softer, more saddened and beaten-down Lavellan replies:

“And so he did.”

This irks him. Because he then realises in that moment that he absolutely did take advantage, but for some reason he frames it around sex rather than power because that’s easier to address than the latter. And he rejects the notion, even though he brought up the expression he knows to mean nothing close to a sexual inuendo for being ‘taken’, and yet he has the gall to try and derail the conversation by pivoting and saying:

“I would not lay with you under false pretences.”

When I first had this dialogue exchange, I was baffled, because did this mean that there was another meaning to ‘Dread Wolf take you’ that Dalish clans lost through the years, or was it more of a self-deprecating joke Solas had with himself because he, the Dread Wolf, romanced (took) a Dalish Inquisitor (away from her people’s beliefs, histories, past), and he found irony in the saying?

On the surface, “wouldn’t lay with you under false pretences” could simply mean “we didn’t sleep together” or “we did sleep together, but I wasn’t taking advantage as the Dread Wolf, I was simply Solas in your presence”. But I have recently thought of a more… ambiguous reading.  Lay could have been used in a milder, more vulnerable way; to mean to be at peace, to be completely vulnerable, as if to sleep. In that sense, the phrasing becomes: “I could not be at peace with you because I was living a half-truth”.

I absolutely think the moment he feels he is truly beyond hope is when we see his expression of abject horror as Lavellan shouts: “I would have had you trust me!”. He realises then that he did fuck up, he did take the choice away from her because he thought he knew better, him and his pride led to a decision that hurt someone close to him, and he could finally see how wrong he was, how alike the entire situation became to Mythal’s treatment of him. Especially if Lavellan asks to go with him. Because he can see that despite the hurt, the lies and the betrayal on his part, Lavellan still wishing to join him draws too close to his first regret: following Mythal.

Whether he likes it or not, Solas’ love which could burn like a bonfire was directed at a powerful woman—a Herald, an Inquisitor—and inspite of her greatness of character, it still shaped her into someone willing to follow him on his dinanshiral out of love, much like he left the Fade and took physical form for Mythal. So now whenever I hear Lavellan shout “Var lath vir suledin”, Solas replying with “I wish it could, Vhenan,” changes drastically with the Mythal reveal, knowing he always walks away from the Inquisitor in Trespasser.

“I wish it could, Vhenan” sounds heavily like: “You would regret me, as I regret Mythal, and I cannot bear for that to happen us.” More poetically, it could read as: “I wish our love could overcome a duty that has lasted an incomprehensible amount of time, I wish I could change my nature, but then I’d be twisted into a demon, like the spirit of Wisdom in the Dales; and yet again, I would become your regret.” These two readings are very, very romantic. Realistically, given what we know of his kinship with Felassan, and how they were comrades and friends for centuries (“A story unfinished. His back turned!”), and given what we know of the complexity of Mythal’s will that presides over the creation of his very being, and yet he was still able to muster the strength to kill a fragment of her to fulfil his mission,  “I wish it could” was most probably a lament: “Do not ask me to hurt one of the two women I’ve loved on this journey, because if it ever came to it…” he would.

Knowing what I know of Solas, of how he was able to convince himself that Varric’s death (avoidable as it was) was just another necessary step, that it was just another sacrifice, another loss that would be worth something only if he completed his ritual, I have no doubt that Solas would also be able to rationalise hurting Lavellan (which is why in his mind, turning away from her, breaking her heart, leaving with no explanation and aiding her in Trespasser so she could live whatever few years remained in “relative peace” is actually an act of preserving that love). I partially think the reason he reveals the truth in Trespasser (especially for a romanced Lavellan) is in the hopes his ‘truths’ will push her away. But on a deeper note, I think he also thinks of it as some twisted form of repaying her for loving him to the point that he could have almost forgotten what it was to be the Dread Wolf, to just be with her as Solas, that night at Crestwood. Maybe his harsh truths would push her to the point where she’d give up her love for Solas, now that she knew he was the Dread Wolf, freeing her from the shackles of their love. He’s very self-flagellating, all about self-sacrifice for the ultimate goal, the ends always justify the means, he will endure any pain and punishment as long as Arlathan returns in the end.

What is his love of a mortal compared to the despair and loss of an entire empire? Solas views himself as selfish for falling for her, and that nearly broke him, if he was selfish enough to leave the dream of Arlathan behind for her, what would that do to his spirit then?

In his way of thinking, perhaps telling the Inquisitor the truth is a way out, a rationale they can use to justify stopping him or to make it easier to hate him as the Dread Wolf rather than love him as Solas (someone he hasn’t been in so long).

‘Masking’ as the Dread Wolf

During Trespasser, the Inquisitor has every right to despise Solas after all they’ve learned, and I think he half reveals the truth as a tactic so the Inquisitor can have an excuse to hate him, to be driven to anger and have less pull over his choices, once they learn the truth. Solas is particularly skilled at making other’s play the role that makes his own choices seem inevitable, he orchestrates a lot of events to play out in a manner where it's easier for him to talk himself into bringing down the veil.

He goads Elgar’nan to anger easily. He inspires the spirits to fight for him to the death as a necessary distraction during the war. He absolutely allows the Inquisitor to speak to him one last time so he can offer insight, yes, but also so he can easily frame his actions as just and inevitable. But, Oh boy does he get in for a shock if the Inquisitor shows empathy towards him, it scares him because he’s become accustomed to being seen only as the Dread Wolf. To be understood? That gives way to remorse. And remorse gives way to doubt. And he cannot doubt his purpose, twisted as it is, it is all he has left of his former self. Without it he would most likely change into something different. Someone he doesn’t recognise.

This fear intensifies more so if a romanced Lavellan asks to go with him, and in that case, he takes command and distances himself away (rejecting the help of someone close to him; the chance for a possible betrayal; the chance at another Felassan or Mythal [x]; the chance to twist Lavellan outside of her purpose, in this case, the purpose would be love/empathy) but not without showing remorse at having sacrificed yet another relationship for his crusade.

“Ir abelas.”

Sorrow for what cannot be is at the heart of why the Solavellan romance is so powerful, especially because even though both Solas and Lavellan love each other passionately, love alone cannot be enough when faced with regrets. Love would ultimately be stifled. Corrupted into something else over time. And so, for Solas, having loved and lost tragically is better than having loved and corrupted.

He will not do to Lavellan what was done to him, even if it is her choice, because she knows so little, her naivete cannot close the distance of a millenia’s old sea, and it would hurt him immensely to take advantage of her kind heart [x].

By leaving, he keeps her heart pure. And the yearning! Knowing the love is there, but on its own it cannot be invulnerable to corruption, so it is better to lose it than twist it. Ugh! Him leaving Lavellan is the ultimate show of love! IT IS A WISE DECISION. A rare glimpse into pure wisdom. Which is why he kneels beside Lavellan in Trespasser, he does not “Stand Tall” in the face of Wisdom’s heart. He kneels beside her. And when he stands tall again, he is Solas once more, filled with regret, and once through the eluvian, he returns to masking as the Dread Wolf.

Sidenote: It’s especially confounding that Veilguard allows Rook to push the Inquisitor to save or stop him after you’ve reached act 2 despite your world state choice (I think this was done in case they feared the Inquisitor wouldn’t stand by Solas after everything he was revealed to be responsible for in Veilguard, however it doesn’t work because the Inquisitor wasn’t an advisor, Rook never told them what they learned from the wolf statues, so having a stranger hold the ability to make Lavellan keep her promise or not rings hollow). Personally, I wish the Inquisitor’s presence had more weight in the non-Solavellan endings, too. I wish the Inquisitor could end up being the last friend/former love that Solas destroys (if you don’t collect the wolf statues) which then prompts Rook to fight him because Solas’ last tie to empathy failed to redeem him, that the Inquisitor falling is the last straw and Solas snaps, choosing to be a villain in the hopes of being stopped because he can’t stop himself, and not the ‘I am a God’ ending they gave us. Same for if your Inquisitor vows to stop him. I also wish the Inquisitor was the one to do the wolf statue missions. Would have been a nice secondary protagonist mission like the switching perspectives between Kratos and Atreus in GOW: Ragnarök (the old guard and the new; Inquisitor and Rook). I would have loved if they dedicated more dialogue to Inquisition days too, which is why I think Cole should have been a companion (if he wasn’t recruited, he could simply be a compassion spirit that ‘follows’ the greatest pain in the Fade that yearns to be healed, giving a compassionate viewpoint to Solas’ folly; recruited Spirit Cole could have a greater connection to Solas than even Varric, seeing as Cole was most likely a literal representation of Solas rewriting his own history by preventing a spirit from becoming too ‘real’; Human Cole would have a deeper connection to the world of Thedas, and could have been a great tool to prove how change was inevitable, not always a bad thing, and inevitably out of even Solas’ control. But alas, we live with what we are given! Even Imshael could have served in this role! Spirit/Demon of choice and it wasn’t incorporated into the game that supposedly asks you to make the greatest world-changing choice ever; redeem the Dread Wolf or end the age of the Evanuris entirely?!

Now onto the next segment: I want to talk about Solas’ regrets and how I read the ‘love story’ between Solas and Mythal, and why Lavellan (and what she represented) wasn’t enough to get through to him (and that’s a very believable thing, that’s what makes their love both tragic and epic!).

The High Price of Redemption

A romanced Lavellan has the most agency to see through his guises, if she resolves to save him, but even she cannot undo the shackles that still bind him to Mythal—the binds that twisted Wisdom so far from its purpose it became Pride, even when he burned (Mythal) from his face. (Likewise, A close friend Inquisitor who promises to save him is most likely a parallel to Felassan, again, they cannot undo the shackles of regret either.) I fully believe the vallaslin had a deeper magic than simply marking one as being committed/devoted to an Evanuris, I think it linked them magically, and since Solas was the first to burn the vallaslin away, he probably wasn’t as good at severing the link on himself as he was for other elvhen, so maybe a part of Mythal’s will still lingers in him, twisting him to Pride still.

In Veilguard’s final confrontation, I love the intention of showing how Lavellan approaches Solas slowly, as she doesn’t know who she’ll be faced with up those steps, Dread Wolf or Solas. But when she speaks to him, trying to get him to change his mind yet again, forgiving him for his wrongs, we are reassured that Wisdom hasn’t been completely consumed by Pride despite everything we’ve witnessed in the game because he bows his head at her in reverence as he apologises.

He shows humility towards her. He elevates her and her enduring love as worthy of his respect, but he does not consider himself worthy of hers. Thus, Lavellan pries open the door to acceptance but his heart is still not enough. Which is why love alone cannot turn the tide. He’s too broken to accept it. He doesn’t think he deserves it, so the only way out is through; to continue the ritual, to prove he was right. The shackles persist. Varric’s death weighs on his conscience now more than ever. Possibly members of Rook’s team too if they died on his crusade. But he is vulnerable enough for Morrigan to approach, and now Rook can use Mythal’s essence to make the final push. The only way he could be with Lavellan, the only way he could atone for the past and shed the weight of his armour (his crushing duty to the Elvhenan) is as Wisdom, fully restored, unbound by mistakes.

“Ar lasa mala revas.” He could only find absolution once Mythal (the angered and more brash essence of Mythal, the one unchanged by Flemeth and all the human women’s lives she’s been shaped by, but the closest iteration to that of Mythal in Arlathan, the version that he perceives as having every right to be angry at him for turning his back on her, for not going that last final stretch with her and subsequently, not being by her side when she died) severed the final connection: facing his regrets, showing humility and apologizing, while not taking away the blame but sharing it.

What is Benevolence without Wisdom if not Hubris?

We know Elgar’nan was twisted to Tyranny during the war, and I saw a post somewhere where someone wondered what led to his corruption, and what he was before (leadership/command). Likewise, Mythal was not above corruption.

So far, I’ve seen a lot of takes on Solas’ ties to Mythal, the power dynamic of being a student/disciple enamoured (could be romantic) with the benevolence of Mythal, but not how Mythal’s purpose was possibly also twisted towards hubris the moment she asked Wisdom to turn physical and build weapons from its knowledge, twisting it to Pride. Without Elgar’nan’s tyranny to rally against after the war with the Titans, Mythal would most likely turn a similar route, seeing her ruling as “necessary” for the people: “If not me then who?”. And that is a very short stop and quick drop to “I am your all-powerful ruler, I liberated you, and only I can guide the way”. Benevolence twisted by hubris can easily turn to Tyranny too, only one more subtle, a kind of cultish indoctrination compared to violent subjugation. If Solas had not turned his back on Mythal when she chose to be Evanuris (a god over her people) then they most likely would have made the worst (best) pair in the Evanuris. Pride is the Seventh Deadliest Sin. But imagine Pride next to Godhood?! That is frightening. So, when Solas burns the vallaslin, walks away and works against the Evanuris, I believe that he also inadvertently stops Mythal from becoming a corrupted version of herself. The sorrow at having lost her closest confidant and “love” grounds her, keeps her saintly in Solas’ mind, and in some ways, perhaps saves the Elvhen empire from a worse fate than him erecting the veil to begin with. But neither of them ever consider this. And I think that sort of self-blindness perfectly encapsulates how flawed both Mythal and Solas are. Now onto love.

Solas and Mythal – a Love too complex to simply classify as mortal ‘Love’.

There’s no doubt Mythal and Solas shared a deep bond, one that definitely had love in it, when we hear Mythal calling him ‘love’, without the possessive ‘my’ in front of it, it’s easy to misconstrue what type of love they share. A small nitpick, but like a thorn, it applies sometimes just enough pressure to change a perspective. Not calling Solas “My love” but instead choosing to simply use “love” works within those wonderful ambiguities/complexities that Weekes thrives in.

If one started out as a spirit, it’s safe to say concepts like familial bonds, romantic bonds, and blood ties mean little to nothing. There is no one type of love and there is every kind of love all at once. It is only once physical bodies are introduced, that physical touch, the ability to stab someone in the back, to kiss out of affection, to hug out of empathy, to strike out of anger, that love now becomes this twisted thing too. There are no spirits of love because spirits always possessed love, but there are demons of Desire (Gluttony) and of Rage (love denied).

I believe, from GDL’s acting skills, his soft whisper, his almost submissive smallness in the breadth of Mythal’s already soft voice, that Solas was in love with Mythal, devoted as a student, beguiled by her benevolence, content even in her shadow, and possibly star-struck. He was in love with someone who doesn’t have the possibility to love him back the same, it is not in her nature to love those beneath her in the same intensity that those who look up to her do. It’s like a priest being in love with God. The priest can devote themselves, sacrifice everything, but a God will always love their flock equally, but they can still play favourites.

Benevolence cannot be enamoured with Wisdom because to be truly benevolent they must possess Wisdom but there is also Pride to be had in walking beside benevolence, but they can never be on equal footing. Likewise, Solas’ love is not reciprocated entirely by Mythal, but she does love him back in her own way. While Mythal is definetly Solas’ first love, layered and complex, it is also strangled by regrets and twisted by uneven scales of power. It would never be a nurturing love, only a consuming kind.

When he speaks of Mythal during the Solavellan ending, he calls her his “oldest friend”, much like what Mythal says, (paraphrasing) “would you have me be angry at my oldest companion whose experienced so much with me”. Because friendship is perhaps the easiest way to describe their companionship. They went through many iterations, one certainly holding romantic tensions (specifically from younger Solas), but ultimately, with that much time shared, kinship/friendship becomes the easiest to surmise. You can love your friends, fall in love with them, fall out of love with them, only to love them again, be disappointed in them, etc.

Media today is flushed with romance as a linchpin for driving a hero to make dire choices, and that has warped our perception of how a platonic/non-romance-based relationship can be all-consuming, and sometimes more impassioned than strict romance. But, to make it easier for people to understand Solas’ motivations, it's easier to see their love in the light Taash sees it (an unreliable, somewhat “still juvenile” narrator, in that they are still growing into themselves and their culture and the world): “They were doing it”.

However, Bellara, a companion whose entire companion story is linked to her strong, deeply character-driving relationship with her brother (platonic love) refutes that reading by saying (paraphrasing here): “We don’t know if their ‘love’ is the same type of love we tend to think of in a masculine and feminine relationship.”

Felassan’s letter after the Mythal Dragon fight alludes to Solas having been in love with Mythal, but nothing about how she felt. This is why I consider the Solas/Mythal relationship to be more of a one-sided romantic love, but a requited ‘love’ relationship for them both.  

A parallel I find so compelling: Solas and Mythal vs Briala and Celene. Solas and Briala both hold deep emotions for people in great power with the ability to end a tyrannical cycle of subjugation, enslavement and classism, yet for both of these ruler’s charisma and well-meaning intent, they often are swayed to side with tyranny. For Mythal, that was Elgarnan, the Evanuris who made all the other’s worse tyrants; as well as her own hubris for believing her presence alone could dampen the ravenous hunger for power that the rest of the Evanuris held at the small prospect of leading the Elvhen in a time of confusion (being a North Star is hard when all the other lights around you aim to blind the flock into submission). For Celene, this is more about the nuances of retaining favour, pull and power over other noble families, their backing (be it financial, political or simply cut-throat), and their support so she can be the ‘lesser of two evils’ compared to Gaspard’s warmongering personality and Florianne simply being a puppet with no backbone. Both Briala and Solas are turned to pawns despite their immense strength and compassion for their respective elven plights; Briala is rendered a fangless lion (for lack of a better metaphor) if she is reunited with Celene, whereas if she is chosen to puppet Gaspard, there’s every likelihood her story could parallel a ‘power-mad’ Solas if he’d been tethered to Rage (at betrayal) and not Regret (at having not rejected Mythal when she asked him to take a physical body) throughout his tenure as the Dread Wolf.

Solas and Lavellan – a Heart that was never intended to be Given/Taken

Now I will compare the lack of possessives in front of Mythal’s “love” to Solas declaring Lavellan as ‘Vhenan’ and then ‘Ar lath, ma Vhenan’ vs ‘Ar lath ma vhenan'; again, the coma is the thorn, the pause that shapes the quiet unsaid things we can deduce. In the Trespasser cutscene DGL puts the pause after “Ar lath”, even though the subtitles construct the sentence with Vhenan as a proper noun since it’s a nickname often used by Solas: “Ar lath ma, Vhenan”. But I believe Solas actually says “Ar lath, ma Vhenan”.

With “Ar lath, ma Vhenan” the stressor is after the pause, so the line reads: “I love [you], my heart.” And with “Ar lath ma, Vhenan” it makes even less structural sense but can be inferred to mean: “I love you, Heart”.  

The possessiveness of “My” is what definitively differentiates the love Solas feels for Lavellan as one more of the romantic side, it is a love of yearning and desire and a wish to have one last good thing that is pure and incorruptible. The one thing he had left to give. His heart. But that does not mean his heart is enough! The rest of him is still bound to the love of Mythal that was twisted through the ages. That changed him. And given how Pride often comes before a fall, I absolutely understand why Solas is actually very brash and ill-considering when he’s romancing Lavellan (“The kiss was ill-considered”/”It would be kinder in the long run”/”I wanted to show you what you mean to me”). He's on a precarious cliff during Inquisition. His first plan failed. He's allowed ancient elvhen magic to fall into a blighted Tevinter magister's hands. Literally everything the Inquisition did could have been for nought if the Mark had fallen to the wrong person. Things could have easily fallen apart for Solas too, so why not indulge in something trifling and fleeting? Execpt it wasn't trifling. Nor was it fleeting. And when he saw that the fall could potentially not happen, that the Inquisitor could do it, save Thedas and retrieve the orb, he was struck by the gravity of his brashness, of letting impulses control him instead of acting according to a plan. But it was too late. They'd both fallen for each other.

Solas didn’t expect to form entanglements within the Inquisition. He was committed. He was angry at the world, “walking through a sea of tranquil”, called flat-ear by the Dalish that later chased him from their village when he proved he was the Dread Wolf. He was despised by people who looked like him. Spirits were constantly being abused and turned into demons. People erected monuments to heroes who slew demons. Mages were caged. Elves were subjugated. The empire fell. Humans razed the lands with their wars and petty squabbles of succession. The darkspawn tainted the land. The dwarves would never dream. Solas awoke to the worst possible fate; in his eyes, it was all his fault.

So when he kisses Lavellan in the Fade, impulsively, he isn’t kissing her there because it is less ‘real’ than if they kissed while she was awake, it makes it so much more real. He’s kissing her in the space where he is most himself. Where he can shed the body he was forced to build and trap himself within, the body of Pride. He is acting on the impulses of an enlivened Wisdom spirit that does not consider tomorrow, for the first time in a long time. It isn’t a long game with Lavellan, like so much of his life has been about always thinking to the future, always considering the outcome, machinating, scheming, the wiles and woes of every trickster god in mythology. It’s being in the moment with her that is all-consuming. It lowers his guard, leaves him vulnerable, and when she enquires about the Fade or spirits or histories, he gets to be useful as pure Wisdom again.

Lavellan challenging him when he first shows animosity or irritation towards the Dalish (a prideful act), and then him being taken aback when she explains that maybe the Dalish could be shown another way (making him consider her words, being given a morsel of wisdom back, reminding him of his old self), these are all small moments where Solas can begin to see springs of hope in the broken world. And that’s terrifying. It means he’s destroying not just himself, but the memory of Mythal and Arlathan too, all for the love of a woman who fell for an apostate.

The best, most genuine unmasking of Solas for me is during Wicked Hearts, when he’s tipsy on wine, has no inhibitions, and revels in the intrigue, the gossip, the dancing, the music (something we now know is important enough to have an entire music room in the Lighthouse), the sex! He is at his most relaxed, and then he asks Lavellan to dance, not caring about how it would look for the “Inquisitor’s serving man, Solas” to be intimate in a fucking Orlesian palace with the Herald of Andraste, right after stopping an assassination attempt! He finds comfort in the world of Thedas at that moment. Something he rarely shows so outright.

When he takes Lavellan to Crestwood to confess, I believe removing her vallaslin wasn’t entirely just for her, it wasn’t just to free her from slave markings or to simply reveal a form of a truth he wanted to tell her, it was to resolve himself of what his first purpose was supposed to be, what she distracted him from. Removing the vallaslin had been something he’d done for the slaves of Arlathan, it was what earned him the mantle of Dread Wolf. When he removes Lavellan’s vallaslin, he resets.

Thedas cannot allow Wisdom to truly exist without fear of corruption to Pride, Thedas the world he was responsible for shaping, literally the Maker of the Veil, and he falls for a woman Heralded as Andraste’s Chosen One, Mythal’s incarnation in the South. The irony. The cruel, cruel irony. The Inquisition is tied to his past, every Andrastian he meets, every Dalish person with vallaslin on their face, every slave or city elf. Tevinter worshiping the dragons that still have the essences of the Old Gods. His heart alone cannot withstand all of the punishing, gruelling, oppressive weight that is Thedas. Even for Lavellan. So he frames their romance as this tragic, short-lived tale that was beautiful but ultimately destined to end. He expects it to pass for her, she’s mortal after all. But he also leaves his heart with her, literally giving her power over the last uncorrupted part of himself. Think Will Turner and Elizabeth Swann at the end of World’s End, but metaphorically. He gives her his heart to safe keep as he goes on a journey that could corrupt a heart, turn it cold and bitter, destroy it.   

Ar lasa mala revas. You are free.

He frees his heart.

Lets it go.

Twice!

So only once he is relinquished of his regrets, once Mythal does the same for him, only then is there “Nothing left except their love”. Because Lavellan still held his heart there was still something left after. Something beyond despair and regret and loss. He had given his heart to her to safekeep. And she did. Lavellan returns his heart to him when he is freed. What Mythal had to break so Solas could heal right again (like a bone), Lavellan casts a splint around so it can be set and heal properly. This is the difference between Mythal’s love and Lavellan’s. Both Mythal’s love and forgiveness broke him, but Lavellan’s love gives him the strength to Stand Tall one last time.

Solas, before Pride alone, as Wisdom (perhaps Solas always meant both Standing Tall and Wisdom, for Wisdom can grant one pride to stand tall for what they believe in), finds contentment with the rare and marvellous spirit that endured (his Vhenan). Wisdom endured because of humanity, something benevolence is beyond.

Bellanaris

When Lavellan offers to go with him, to continue on the dinanshiral that she already considers herself a part of, Solas is legitimately taken aback. His expression is soft yet full of disbelief and awe. He actually stops walking a few frames before Lavellan says this, as if hoping Lavellan would say something to him!

And then she basically proposes to him! “Bellanaris!” I absolutely adore the fact that Lavellan promises them eternity. A vow as sacred as a death right, as protected as an ancient, elvhen, undisturbed burial ground in the face of Orlesian colonialisation. They endured and now they will have an eternity. For once, we have an elvish tale that is not a curse, it is a love story with reunion at its core, where both elves reclaim something precious that was denied them.

Lastly, i am absolutely frothing at the mouth that Solas and Lavellan primarily speak in elvish! And even more feral at the fact Solas does not try to talk her out of joining him (because this sweet talker very well could!). He simply tells her where he is going is terrible. And she shuts that shit down immediately. No repeat of Trespasser. She's standing beside him, the South has all but fallen, whatever ties yet survive are strained, and she has fought the good fight for 8 years. I think the Inquisitor was about ready to leave Thedas behind.

The last decisions Solas makes are of his own volition. Entering the Fade for atonement. Stepping into the Fade with Lavellan (It was confirmed by Weekes that Lavellan’s presence in the Fade prison would fundamentally change it in a way we haven’t seen!). Thanking Rook for giving him one last shot at getting happiness. All his own!

This is the look of a man finally reunited with his wife! So much emotion in ONE frame. God! There’s never been a character like him. A love story like theirs! I’m so happy I got to see this ending. Full circle!

P.S. If you read this far, woah nelly! That’s crayyzeee, so here are some more great pieces: Why it was important for Lavellan to kneel for Solas as he knelt for her in Trespasser in the Solavellan ending [x], and here’s a great deep-dive on Solas as a spirit of Wisdom [x].

[dailyadventureprompts]

Hello Dapper. I don’t really expect too much about this, but do you have any ideas for Wargs? They have an interesting relationship with goblins and are weird in that they’re essentially sapient wolf monsters, but I don’t think they’re ever really used that creatively.

Monsters Reimagined: Wargs, wolf panics, and the Economics of Lupophobia

While the surface level answer is pretty simple (warg is a conversion of varger, an old Norse way to refer to mythological wolves like Fenrir) there's actually a surprising amount of material to drill into here on the topic of sapient wolf monsters, especially for someone like me who has a interest in moral panics and mass hysteria events. Wolves were effectively a boogyman for pre-industrial societies, a deep seated generational fear that we only recognize today through cultural relics like the big bad wolf or boy who cried wolf.

TLDR: If you want to do something interesting with wargs beyond just "wolves that talk" I'd advise playing to their folk / fairytale roots. They're creatures of embodied dread, drawn from the stuff of the feywild to sow fear among those who would travel off the path or too close to the wilderness. This lets you tell interesting stories about how the party/major characters respond to fear: Does fear of being attacked in the dark drive the party to make risky decisions that might endanger their quest? How do the villagers react when the wolves are very literally at the door, demanding just one of their neighbours as a meal in exchange for safety?

I'd also advise getting weirder with a warg's powers, playing into that fear of the unknown by doing unexpected things. The party can fight off a pack of wolves, sure, but what does it mean when the lead wolf rips off the bard's shadow and takes off into the night?

Background: If you want a window into the headspace of wolf-panic, think about the neigh omnipresent fear of sharks created by the Jaws franchise. Children who have never seen the movie, let alone seen a shark in person can become irrationally afraid of getting into deep water because they've absorbed the pervasive cultural phobia, which goes onto shape environmental policy as sharks are overhunted or killed out of spite for their perceived threat.

So it was for wolves, even after they were largely hunted to near extinction by medieval and postmedieval societies, the fear of them was so ingrained into cultural traditions that wolf and werewolf panics were a thing that went hand in hand with witchtrails. France had a country wide one as late as the 1760s and the movie based on it ended up inspiring Bloodborne. Alternatively look at the anti-wolf efforts during the colonization of the Americas, right up to the opposition to reintroducing wolves back to Yellowstone park.

On that note (and because we can't have a Monsters Reimagined without some kind of class analysis), lets talk about how these fears are propagated: On many levels it makes sense for everyday people to be afraid of wolves, they're a hunting species that can absolutely pose a danger to us, and when you're living or travelling outside the protection of a settlement you really are vulnerable to a coordinated pack of carnivores running you down.

However, the primary threat that wolves pose to humans isn't predation, it's property damage, specifically in how they kill livestock. While we can talk about individual farmsteads beset by beasts, in reality the herds that wolves were most likely to prey upon belonged to the landowning classes, powerful people who had a profit incentive in seeing wolves driven off or exterminated. This is where you get bounties on dead wolves, not just paying for the value of the hide but actively rewarding people for going out and killing as many wolves as possible to the point of it becoming a profession. This practice has existed for MILLENIA and is still active today, primarily in places where big agriculture influences governments.

It seems incidental at first but then you realize that it fits the model of just about every other kind of cultural panic: widespread ignorance and fear that just so happens to mobilize the populace in a way that financially benefits a select few. You can see the same thing happening today in england with badgers of all things, which have been identified with the local dairy industry as a threat to their herds. This is not only led them to petition the government to cull the badger population, but to put out anti-badger propaganda, eventually turning it into a culture war issure to the point where conservative mouthpieces like Jeremy Clarkson openly encourages killing and gassing badgers on sight.

Returning to the land of fantasy for now: I think it's worth taking the idea of the warg and mixing it with a few other "black dog" cultural archetypes, which can also include the creatures like the shuck or church grimm. In this instance the warg is a sort of curse made manifest, the fear of a haunted place given literal teeth. People who transgress into these forbidden spaces find themselves pursued by a manifestation that dogs them till they're exhausted and vulnerable, much like a wolf harrying its prey.

The bhargest is also of special interest here, considering how I like to relate goblins back to the feywild. You could easily see bhargests as agents of fey that feed on human fear, leading a pack of goblins or hobs that occupy the desolate lands they've called to haunt. My version of Maglubiyet would also delight in employing such creatures as his emissaries.

Going back to the vargr/ Norse mythology angle, it's interesting that most of the wolves that show up are destined to devour something, whether it be a god or celestial certanty like the moon and sun. It's like the concept of an inevitable chase is so fundimental to what a wolf IS that it became a theme of ragnarok's inevitable certantly. Consider having certan packs of wargs be offspring of some fenrir style god eater, beasts of forboding doom who's mere presence is an omen of ill times.

Alternatively, if you wanted to play on the big bad wolf angle, give wargs the ability to take on flimsy human disguises, all the better to get close to their pray and sow fear among the townsfolk. Historical wolf panics after all are not all that different than serial killer panics, and it'd be a fun twist on a traditional werewolf adventure to have the party on a creature that didn't play by the usual lycanthropic rules.

Artsource

[gold-rhine]

finally had time to play archon quest, and it was really good! SPOILERS for 5.1.

the obvious standout was the war section, it really surprised me bc i dont remember invasion even in like srs business games like dai, bg3, wotr, etc that had so effectively impacted the fear, tragedy, hectic battlefield, feeling helpless at the scale of it. maybe mass effect 3, but they ruined it in other ways.

usually its like. there are groups of enemies all around the map, the npcs are running around and you save them, yeah there are a lot of corpses, but it doesnt feel that meaningful bc there are corpses around all the time anyway in these kinds of games, and you just move from one group of enemies to another, clearing the map. if there are checks of where you went first to see who survives, it can be even worse bc then you will have players make very specific step by step checklists and find any exploits that detail which is the optimal order of doing things so you save whoever you want, with best loot. so it ends up feeling very detached, bc you sit there with wiki open on another screen, weighing costs and benefits. even if you don't, the usual reload and the set events and *how* players moves around the map give much sense of control, you know you can get best outcome if you wanted and you have your priorities.

but here, first of all, you have an option to choose where to move, but it will move time, so you can't just clear the entire map. and the fact that the "missions" do not have playable characters you already know at stake and instead have npcs you don't know at the beginning ends up working better, at least for me, bc choosing where to go next is not just benefit analysis bc you get best loot or get to save your pookie. instead its a choice between options which are equal to you as a player, so it feels like making personal decision instead of just optimizing in-game strats. and so then when you see the missions you didn't go to turn dead or even go here and everyone is already gone, it just hits different. so the lack of prior information or any worldstate checks ended up working much better, at least for me, to make this an emotional decision instead of rational calculation, and so it affects emotions first.

how they used UI to subvert expectations is also insane, like you see that stat screen of percentages of abyss corruption and so on and you're like oh, i know how it works, its bad now, but i will be clearing the map and it will get better :) and then it keeps getting WORSE and WORSE, instead of doing lil completionist clear of all "!" marks on the map, they go dead, map gets swallowed by the abyss fog, it really feels like chaotic dashing between whatever points left and feeling relief when you see at least *someone* survived at the next one. incredible use of the medium in a way only video games can accomplish to build dread and anxiety.

special shoutout to paimoin's voice actress, i was always saying its not her fault paimon is annoying, its direction, and now she *finally* was given material to work with and she fucking CRUSHED it. like, when we find a baby saurian who is a sole survivor hiding, with corpses of its family all around, and paimon tries to cheer it up and direct it to the safety, her voice is tangibly wavering and filled with tears, but she's trying to keep it together bc she needs to encourage baby saurian, despite knowing we don't have time to stay with him and so we don't now if he'll survive?? insane. brilliant performance. and then when we fly next to the canopy tried, visibly overtaken by abyss, and paimon cries out, a single shuddering cry, half-choked and distressed, instead of going "oh no, it looks like abyss has taken over canopy tribe! thats bad!" like writers usually have her talk. and then when after a pause she quietly says that this war might be too much for paimon, and traveler encourages her and she rallies back, like that lil scene made me like paimon and believe in their friendship more than literal years of her incessant yapping and looking into camera going "we're the bestest friends!"

but also the fact that you can get to know the NPCs you managed to save, and meet them again, they have their own lil storylines, their own optional checks which are not forced on you, but if you do manage to help them , you get to meet them back in safety and it feels so good, gives players enough feeling of agency that your actions DO matter. very good handling of scales, the grand country wide invasion swallowing entire map in despair vs personal, individual level victories. you save whoever you can and every life is equally precious.

[mostlysignssomeportents]

Insurance companies are making climate risk worse

Tomorrow (November 29), I'm at NYC's Strand Books with my novel The Lost Cause, a solarpunk tale of hope and danger that Rebecca Solnit called "completely delightful."

Conservatives may deride the "reality-based community" as a drag on progress and commercial expansion, but even the most noxious pump-and-dump capitalism is supposed to remain tethered to reality by two unbreakable fetters: auditing and insurance:

https://en.wikipedia.org/wiki/Reality-based_community

No matter how much you value profit over ethics or human thriving, you still need honest books – even if you never show those books to the taxman or the marks. Even an outright scammer needs to know what's coming in and what's going out so they don't get caught in a liquidity trap (that is, "broke"), or overleveraged ("broke," again) exposed to market changes (you guessed it: "broke").

Unfortunately for capitalism, auditing is on its deathbed. The market is sewn up by the wildly corrupt and conflicted Big Four accounting firms that are the very definition of too big to fail/too big to jail. They keep cooking books on behalf of management to the detriment of investors. These double-entry fabrications conceal rot in giant, structurally important firms until they implode spectacularly and suddenly, leaving workers, suppliers, customers and investors in a state of utter higgeldy-piggeldy:

https://pluralistic.net/2022/11/29/great-andersens-ghost/#mene-mene-bezzle

In helping corporations defraud institutional investors, auditors are facilitating mass scale millionaire-on-billionaire violence, and while that may seem like the kind of fight where you're happy to see either party lose, there are inevitably a lot of noncombatants in the blast radius. Since the Enron collapse, the entire accounting sector has turned to quicksand, which is a big deal, given that it's what industrial capitalism's foundations are anchored to. There's a reason my last novel was a thriller about forensic accounting and Big Tech:

https://us.macmillan.com/books/9781250865847/red-team-blues

But accounting isn't the only bedrock that's been reduced to slurry here in capitalism's end-times. The insurance sector is meant to be an unshakably rational enterprise, imposing discipline on the rest of the economy. Sure, your company can do something stupid and reckless, but the insurance bill will be stonking, sufficient to consume the expected additional profits.

But the crash of 2008 made it clear that the largest insurance companies in the world were capable of the same wishful thinking, motivated reasoning, and short-termism that they were supposed to prevent in every other business. Without AIG – one of the largest insurers in the world – there would have been no Great Financial Crisis. The company knowingly underwrote hundreds of billions of dollars in junk bonds dressed up as AAA debt, and required a $180b bailout.

Still, many of us have nursed an ember of hope that the insurance sector would spur Big Finance and its pocket governments into taking the climate emergency seriously. When rising seas and wildfires and zoonotic plagues and famines and rolling refugee crises make cities, businesses, and homes uninsurable risks, then insurers will stop writing policies and the doom will become undeniable. Money talks, bullshit walks.

But while insurers have begun to withdraw from the most climate-endangered places (or crank up premiums), the net effect is to decrease climate resilience and increase risk, creating a "climate risk doom loop" that Advait Arun lays out brilliantly for Phenomenal World:

https://www.phenomenalworld.org/analysis/the-doom-loop/

Part of the problem is political: as people move into high-risk areas (flood-prone coastal cities, fire-threatened urban-wildlife interfaces), politicians are pulling out all the stops to keep insurers from disinvesting in these high-risk zones. They're loosening insurance regs, subsidizing policies, and imposing "disaster risk fees" on everyone in the region.

But the insurance companies themselves are simply not responding aggressively enough to the rising risk. Climate risk is correlated, after all: when everyone in a region is at flood risk, then everyone will be making a claim on the insurance company when the waters come. The insurance trick of spreading risk only works if the risks to everyone in that spread aren't correlated.

Perversely, insurance companies are heavily invested in fossil fuel companies, these being reliable money-spinners where an insurer can park and grow your premiums, on the assumption that most of the people in the risk pool won't file claims at the same time. But those same fossil-fuel assets produce the very correlated risk that could bring down the whole system.

The system is in trouble. US claims from "natural disasters" are topping $100b/year – up from $4.6b in 2000. Home insurance premiums are up (21%!), but it's not enough, especially in drowning Florida and Texas (which is also both roasting and freezing):

https://grist.org/economics/as-climate-risks-mount-the-insurance-safety-net-is-collapsing/

Insurers who put premiums up to cover this new risk run into a paradox: the higher premiums get, the more risk-tolerant customers get. When flood insurance is cheap, lots of homeowners will stump up for it and create a big, uncorrelated risk-pool. When premiums skyrocket, the only people who buy flood policies are homeowners who are dead certain their house is gonna get flooded out and soon. Now you have a risk pool consisting solely of highly correlated, high risk homes. The technical term for this in the insurance trade is: "bad."

But it gets worse: people who decide not to buy policies as prices go up may be doing their own "motivated reasoning" and "mispricing their risk." That is, they may decide, "If I can't afford to move, and I can't afford to sell my house because it's in a flood-zone, and I can't afford insurance, I guess that means I'm going to live here and be uninsured and hope for the best."

This is also bad. The amount of uninsured losses from US climate disaster "dwarfs" insured losses:

https://www.reuters.com/business/environment/hurricanes-floods-bring-120-billion-insurance-losses-2022-2023-01-09/

Here's the doom-loop in a nutshell:

As carbon emissions continue to accumulate, more people are put at risk of climate disaster, while the damages from those disasters intensifies. Vulnerability will drive disinvestment, which in turn exacerbates vulnerability.

Also: the browner and poorer you are, the worse you have it: you are impacted "first and worst":

https://www.climaterealityproject.org/frontline-fenceline-communities

As Arun writes, "Tinkering with insurance markets will not solve their real issues—we must patch the gaping holes in the financial system itself." We have to end the loop that sees the poorest places least insured, and the loss of insurance leading to abandonment by people with money and agency, which zeroes out the budget for climate remediation and resiliency where it is most needed.

The insurance sector is part of the finance industry, and it is disinvesting in climate-endagered places and instead doubling down on its bets on fossil fuels. We can't rely on the insurance sector to discipline other industries by generating "price signals" about the true underlying climate risk. And insurance doesn't just invest in fossil fuels – they're also a major buyer of municipal and state bonds, which means they're part of the "bond vigilante" investors whose decisions constrain the ability of cities to raise and spend money for climate remediation.

When American cities, territories and regions can't float bonds, they historically get taken over and handed to an unelected "control board" who represents distant creditors, not citizens. This is especially true when the people who live in those places are Black or brown – think Puerto Rico or Detroit or Flint. These control board administrators make creditors whole by tearing the people apart.

This is the real doom loop: insurers pull out of poor places threatened by climate disasters. They invest in the fossil fuels that worsen those disasters. They join with bond vigilantes to force disinvestment from infrastructure maintenance and resiliency in those places. Then, the next climate disaster creates more uninsured losses. Lather, rinse, repeat.

Finance and insurance are betting heavily on climate risk modeling – not to avert this crisis, but to ensure that their finances remain intact though it. What's more, it won't work. As climate effects get bigger, they get less predictable – and harder to avoid. The point of insurance is spreading risk, not reducing it. We shouldn't and can't rely on insurance creating price-signals to reduce our climate risk.

But the climate doom-loop can be put in reverse – not by market spending, but by public spending. As Arun writes, we need to create "a global investment architecture that is safe for spending":

https://tanjasail.wordpress.com/2023/10/06/a-world-safe-for-spending/

Public investment in emissions reduction and resiliency can offset climate risk, by reducing future global warming and by making places better prepared to endure the weather and other events that are locked in by past emissions. A just transition will "loosen liquidity constraints on investment in communities made vulnerable by the financial system."

Austerity is a bad investment strategy. Failure to maintain and improve infrastructure doesn't just shift costs into the future, it increases those costs far in excess of any rational discount based on the time value of money. Public institutions should discipline markets, not the other way around. Don't give Wall Street a veto over our climate spending. A National Investment Authority could subordinate markets to human thriving:

https://democracyjournal.org/arguments/industrial-policy-requires-public-not-just-private-equity/

Insurance need not be pitted against human survival. Saving the cities and regions whose bonds are held by insurance companies is good for those companies: "Breaking the climate risk doom loop is the best disaster insurance policy money can buy."

I found Arun's work to be especially bracing because of the book I'm touring now, The Lost Cause, a solarpunk novel set in a world in which vast public investment is being made to address the climate emergency that is everywhere and all at once:

https://us.macmillan.com/books/9781250865939/the-lost-cause

There is something profoundly hopeful about the belief that we can do something about these foreseeable disasters – rather than remaining frozen in place until the disaster is upon us and it's too late. As Rebecca Solnit says, inhabiting this place in your imagination is "Completely delightful. Neither utopian nor dystopian, it portrays life in SoCal in a future woven from our successes (Green New Deal!), failures (climate chaos anyway), and unresolved conflicts (old MAGA dudes). I loved it."

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/11/28/re-re-reinsurance/#useless-price-signals

[she-posts-nerdy-stuff]

It’s gone midnight and I’m thinking about Six of Crows so y’all know what that means: it’s time for a long rambling thought process that will hopefully have some interesting insights into the books in it.

I want to talk about the animal, mostly bird, symbolism of these books because although it’s obviously something we’re very aware of I also think it’s something that runs a lot deeper than we necessarily always realise/talk about. Even when people aren’t being directly involved in bird metaphors (crows, pigeons, peacocks) they are often described as “squawking”, “flapping”, or with other phrases that further this semantic field.

Now the crows is obviously the main source of the symbolism, and it’s openly talked about in the book with the speech on how the recognise human faces and how they support each other. I’ve also seen a few people online talking about the Crows in conjunction with a poem/nursery rhyme about crows (it’s one of those that has many different versions spun of it, some know it was counting magpies rather than crows) wherein 6 crows symbolises gold, of course greatly linked to the plot of the novels as well as their anti-extreme capitalism message. It’s also key to mention that crows are massively underestimated birds in the general public view; they’re far ‘smarter’ animals than we would typically expect. Crows have a very high brain to body mass ratio, I believe the highest of any birds but don’t quote me on that, and although we understand very little about the brain the size ratio is currently considered a very good indicator for the general intelligence level of the animal. Crows can make tools, hide their food, mate for life, and - VERY interestingly for this book analysis - have even been suspected to hold funerals. Now I want to be clear I’m working on a mix of random knowledge and the first helpful looking website that came up when I googled ‘fun facts about crows’ so I am by no means an expert here, but to my understanding the practice that was initially considered to be a ‘crow funeral’ is actually a process wherein crows will gather around a dead crow to look for potential danger. So I feel like the links I’m establishing here are relatively obvious, the point is that, like the birds themselves, the Crows are undervalued, underestimated, and unexpectedly successful. But the symbol of the crow in these books arguably goes even further.

The crow-headed handle of Kaz’s cane represents everything about the crow I’ve already mentioned on top of his own symbolic layering to the cane as a sign that no part of him has not been broken, and no part him is not better for having been broken. So in Chapter 27 of Crooked Kingdom, when Kaz returns to the Slat and fights the Dregs before leading a coup against Per Haskell, the cane with the fake crow’s head that Haskell has contrived to mock him effectively represents the failing of everything the Dregs represent. They’re last, the remnants, the people with nowhere else to go: they are the people who have been broken and have made something new for themselves. Except Haskell. So the sheer ridiculousness of him mocking Kaz’s cane, something he clearly thought would win him favour and success, in the end becomes one of the biggest aspects of his downfall. Inej describes the moment when the Dregs begin to support Kaz, the way the look at Per Haskell with discomfort - “the feathers in his hat, the canes in his hands” (and then she goes on to highlight how they’ve seen Kaz use his cane in fights, “wielded with such precision”, whereas Haskell is washed-up, pathetic, never could have taken the fight Kaz did and walked out the other side). Of course they realise, then, how completely and utterly wrong all of this was. Because when they’re confronted with both of those canes they realise something. They know what Kaz’s cane represents; it’s power and strength in spite of a world that has that has scorned him, it’s taking something that was broken and not fixing it but emphasising it and making it into a threat, into a symbol, into a strength. They know that, even though they don’t know what happens in Kaz’s head, because they see themselves in that. The Dregs; the literal bottom of the Barrel, who have been broken and who have clawed their way to survival. They cannot see themselves in Haskell’s mockery cane. Haskell is not a man who reflects what the Dregs are at their core, but Kaz is. The emphasis on the feathers is also really interesting, because I think it’s implying a sort of gaudy, colourful feathering that (despite fitting in with the style of the Barrel) does not represent the symbol of the crow; it is not something shadowed, something half hidden that could have an unexpected bite. It’s almost more akin to Heleen’s gaudy peacock feathers than it is to anything the Dregs understand, or represent through being Crows.

The pigeons I don’t really see anyone talking about, but I think it’s pretty interesting. The idea of ‘the pigeon’ is the same as ‘the mark’; they’re the victim, the fool who’s easy to swindle. I think the imagery of the fools being pigeons, ie being everywhere and massively populating big cities, is really clever to show a divide between the few, the Crows, and the many, the pigeons. However, it’s not only the Crows who remark on others being ‘pigeons’, but other gangs as well. When Kaz confronts Pekka about the scam he ran on him and Jordie, he says “you were just two pigeons, and I happened to be the one who plucked you”. I’m not gonna lie to you guys I’m losing my point slightly, but I just googled ‘crows and pigeons’ and the first thing that came up was about how crows sometimes eat pigeons so I reckon that’s pretty relevant.

Ok I’m really tired and I feel like I’m clutching at straws here, so I dunno I guess if this does well then I’ll cover peacocks, lions, and the general semantic field of birds in another post. I hope at least some of this made sense, thanks for reading it if you bothered to get this far

[wispythreads]

The Lair of the Shadowbroker DLC definitely earned its fan praise, in my opinion. This feels like Mass Effect 1 level of artistry and level design, I love it.

There were like, way too many enemies, and I still don't really feel great about how they changed Liara in just a two year time gap between the games, but I appreciate the way this DLC handled it, it made an effort that resulted in her feeling more like how she felt in the first game.

The scene after Tela got revealed as the one who had been trying to murder Liara at the start of all this was rough, Shepard and her slipping off the window ledge, falling together, slowed down only by Tela's biotics until she shoves Shepard the rest of the way to the ground, while she gets to gently float down to make her escape. That impact looked like it HURT, especially with how much effort she had to put into getting back up again.

Shepard honestly sounded so grumpy and dejected as she said "I'm okay, by the way, thanks for asking." before hopping into the car with Liara.

And speaking of the car, I loved the banter between Liara and Shepard the whole way through, but particularly during the car chase, which was really fun! "Head on Collision!" - Liara "I hear that's bad for people." - Shepard. All the little bits of back and forth were so great to listen to, wouldn't mind replaying just for that bit of the DLC alone.

The actual Lair itself was so so so pretty.

The boss fight against the Shadowbroker is probably my favorite across all all of Mass Effect 1 and 2? Especially with the cutscenes where Shepard realizes ah ok ammo won't do anything that's fine I'll just punch him

Really cool alien design too.

Mini thoughts from snooping on my squadmates dossiers below.

Straight up chortling over Mordin and Kirrahe's bickering and how it is preserved in their mission report He really should've realized something was going to be up on Maelon's end... Nice of them to try and shelter him from any repercussions for his outburst, but he needed followed up on much sooner than when Mordin thought he'd been kidnapped. The list of threat analysis against all the other main species holy- not surprising, honestly, based on what is known about Salarians, but still pretty interesting ... So not only is he a musical enthusiast in his spare time but also a Bill Nye the Science Guy type? That's neat. Good for him.

I hope we get to reunite Jack with her mom. That would be nice.

LEGION IS A GAMER I love this little cluster of AI so much. He has so many infractions on that online game that technically are true due to the fact that he's. Not an organic being. But the only one that sticks is him taunting other players- that's so silly aww… he bought the highest (and most likely most expensive) version of a game that was fundraising for the events of Eden Prime, just for the fundraiser. He did not play that game at all. He even tried a dating simulator oh my gosh. I don't think he's hopeless =( what a mean ranking for a dating sim. He's spent so much time on it, too… (not as much as the other games, but still a significant time investment my gosh)

ahhh this is where Grunt's fanon characterization of being Shepard's son starts coming in. I do think the main game version of him and his relationship with Shepard, a paragon!Shepard at that, is interesting, but it wasn't lining up with what I was seeing online. (and by main game version I mean the transition of [Talking about how great it is we've got so many strong enemies to fight against] "I don't plan on living like this forever" "Talk like that and it won't be your choice. I'm sure as hell not quitting with a whimper. Just so you're clear where we stand." [Hyper aggressive and enjoying memories of gruesome kills] "I'm not sure I want to keep coming down for these talks..." "Whatever. Don't have to be friends to be allies." [Still hyper aggressive and enjoying memories of gruesome kills] "Y'know, I kind of thought connecting with your past would bring stability." "Ha! See, now we're having fun. Me remembering good deaths, and you with your... funny human thing you're doing.") I think there is something very sweet about him being enamored with dinosaurs and looking up to Shepard so much that he wants to know about the whole of Humanity's history as warriors :')

The transmission between Samara and her daughters... all the things she had to give up in order to become a Justicar...

!!! THANE GET THE LUNG TRANSPLANT YOU HAVE A SON YOU NEED TO CONNECT WITH AND I CARE ABOUT YOU SO MUCH DON'T JUST GIVE UP AND DIE IN A YEAR!! LIVE! LIVE AS A PERSON AND NOT A WEAPON!! I love how his kill methods are so elaborate and the alternate methods are equally intricate, with the Krogan's main method understandably being the most involved and calculated. And then you get to their alternate method and it's just one word. It gives this impression of hands to his head exhausted and resigned.

... Garrus's family… his mom…. god that's hitting a little too close to my heart....

[ladyluscinia]

I know my last experience with a season ending on a note everyone hated and unanimously tore to fucking shreds for destroying the story on every level was... atypical. Lockdown. 6 month mass hysteria at minimum. Conspiracy theories that were, like, real things we had on camera. There was a Twitter wedding. Creative fervor that broke 100k fics on AO3.

Like. I know this is not a rational point of comparison and I'm not going to expect anything in my lifetime to match it 🤣

But.

If that was the highest high of post-season fandom engagement built on a cocktail of tasting everything you ever wanted AND the absolutely lethal levels of spite and swearing to eat showrunners' hearts in the marketplace, then whatever the fuck is going on after OFMD S2 is the opposite of that.

OFMD S1 was a huge fandom explosion. One silly little streaming show that had a gay kiss and then it skyrocketed. Fic numbers were soaring, high activity fic and meta engagement lasted for at least four months, it was constantly trending and flooding the dash... Like, fucking hell, over a year and a half after the immediate finale fervor it beat Stucky in the top ships bracket?!? To the point I was willing to give it what felt like due credit toward its potential as a future juggernaut ship. Not guaranteed, of course, but the potential was there.

In that context, new content should be a blow out party. Which it kinda was pulling off as it was airing, but looking back now? Not even quite a month later?

The effect of S2 on the fandom is like... a blip. Possibly over already.

New fic numbers started dropping off the moment the finale aired and have returned to deep hiatus levels. It's dropped off trending and streaming leaderboards... I'm very curious to see the first tumblr Week in Review since the finale, though we're still waiting due to the holiday.

Like, I've even popped on to scroll a few Izzy hater blogs that I know loved the finale out of morbid curiosity what they were up to, and I'm telling you... if I hadn't just watched the new season I'd think they were still over a year into hiatus. Saw some standard bitching about the izcourse / Edward takes (aka the one thing that kept them going all hiatus), they're currently passing around posts mocking one specific long OFMD version of TJLC I'm just hearing of, the same BTS gifsets everyone else is thrilled by... But barely any new meta or discussions. There's like 2 people posting actual analysis of S2 that's getting reblogged and they aren't even names I recognize from the hiatus. Nor is it particularly interesting to read. 🤷‍♀️

In July of 2022 I could pop onto a random OFMD blog and scroll through a dozen enthusiastic Stede or BlackBonnet metas about jacket colors or that moth from 1x07 or lighthouse symbolism or whatever. Now the new stuff has the same energy as posts from June 2023. It's borderline dead. And this is what it's like when there's an active campaign to engage fandom and Renew as a Crew?

(I will say fanartists are bringing some energy and there's some lovely pieces being passed around, which I do think the Renew as a Crew campaign is helping to boost?)

Even the hundreds of people saying it was a beautiful season and they loved it so much don't seem to be finding it a very engaging or inspiring season.

It's such a turn, like, what the fuck.

[ogrepoppenangleaksofficial]

WHO WINNING THE TWERK-OFF: HtP edition

Through careful analysis I have determined out of nearly every character we've been introduced to so far, who would win a naked and covered in oil twerk competition

First up is the Arcanum and immediately most of them are disqualified for having little to no ass or heart. There's really only four worth talking about. Brok has cheeks but wouldn't do it (DO I'Z LOOK LOIK A POOF TO YEW?!), Grimy has potential but would not lock in and probably would end up doing some weird shit she saw in a doujin, Harry has the bod and knows how to move it, and Elise is well...just look at her

Team vamp is pitiful. Shitbeard canonically has negative ass, Ape is too wound up, and while Guy and the manager would do it if vitae was on the line, they wouldn't be very good. Pyotr is the only one bringing his A+ game and probably should diablerize the others for that instant BBL

Team Hunter has some choice picks. Boy is disqualified for obvious reasons (sorry kid, maybe if we get a timeskip), Horse physically cannot twerk, and Krakus won't leave the well so it's down to the mains. While the sweatpants are doing him some favors, Kitten couldn't possibly stand up to the competition, I'm sorry. Door could probably crush a Coke can with those buns of steel but he doesn't seem like he can't move that mass effectively. Marckus is really the only choice, as we can see an episode 1 that shit was moving like water. D obviously moves on but that should go without saying.

So who wins? I hate to say it but Harry, Pyotr, and Marckus aren't up to the task, they might be good but not that good. So it's down to Elise and D. (Though out of the runners up, I think Pyotr beats Harry by the skin of his fangs)

Elise has cake on cake on cake (I don't know why you guys made her so incredibly stacked) but D actually cinches it due to that. She's a natural talent and natural talents are known for not putting in the work because they don't really need to. Besides, I don't see this as being something she'd be particularly enthused about, so I can imagine her just squatting down and doing literally whatever because it's gonna clap and jiggle regardless.

D on the other hand is going to WERK. He is going to shake it like rent is due. It'd look like that one scene from American Dad. You didn't think it was possible for ass to move like this. He has decades of experience and this certainly isn't his first rodeo. He has flawless technique with the physique to seal the deal.

So in hindsight the answer was kind of obvious,

BIG-D WINS

[marrok-dark-knight]

One of my absolute FAVORITE scenes in Mob Psycho is when he appears at the end of the Everyone vs Shimazaki fight. The reason I love it so much is because it reminds me of this scene in Princess Mononoke. LET ME EXPLAIN:

When Mob walks into the area we see his feet and his power just wispng off of him. But it’s also silent.

In Princess Mononoke we see the same thing, heavy music and intense stuff going on and then BAM silence as the Forest Spirit walks in, its powers coming off and growing/killing the plants around it.

Something about this is just so MHMMM to me. I’m not very good at art cinematography analysis but this definitely stuck out to me each time I watched both the movie and series. Something about the quiet power of both individuals, the power of life and death in their hands. Everyone’s power is loud and flashy, with battle music, but Mob and the Forest Spirit silence all of it. Both of their feet take up the whole screen just showing the mass effect they have. It draws full attention to them. It sets this tone, somber, threatening, but gentle. I JUST WANTED TO SHARE THIS. Season 2 had a couple moments that gave me Princess Mononoke vibes mostly Mob and Ashitaka comparisons. Feel free to share your thoughts!

[wakeupthemembersofbylernation]

reminder: byler is officially going to be bones next season! ❤️

you and all your fellow bylers are currently having all your delusion mass screenshotted and put in my twitter mutual's archive... once s5 comes out and byler is bones, she'll make a video mocking almost a decade worth of your delusion. the video will become viral and every single person in the world will be laughing at you. ❤️

enjoy your delusion while you still can, you fool. ❤️

Ngl, this is simultaneously one of the funniest and saddest hate anons I’ve received. You should be embarrassed, but because you possess not a shred of self-awareness or shame, you won’t be.

The truth is, you’re clearly insecure and scared that we’re right because no one who is actually secure and happy with their ship acts this way. No one. If I were a Mlvn, I would simply enjoy Mlvn through fan art, edits, analysis, S5 predictions, memes, etc.- you know, all the things we’re doing here, like a normal fandom, in peace?

I wouldn’t spend my time harassing a group of shippers I believe to be “delusional,” who support a ship that I see as “bones.” We aren’t bothering anyone or harming anyone.

That isn’t even middle school behavior. That’s elementary school behavior. Your juice boxes are by the animal crackers and the Go-Gurt, btw.

So what if we're “delusional” (we aren’t, but so what if we are?) How do our so-called “delusions” have any effect on your fandom experience whatsoever? You’re making yourselves miserable by being bullies instead of enjoying Mlvn.

Additionally, Byler is beautiful and life-affirming and lovely and wonderful all around. There is nothing bad about rooting for queer joy and for Will (and Mike) to get happy endings together.

And there is nothing delusional about shipping a ship that is semi-canon where one half of it literally made a romantic painting for their bestie and the other half of the ship spent the entire penultimate season having heart-to-hearts with them. Nothing, nada, zilch.

You being bereft of subtext, fueled by flagrant homophobia, and blinded by heteronormativity isn’t our problem. It’s yours. And if against all odds, we’re wrong, that’s on the writers of the show. It still wouldn’t make us delusional or foolish, and there would be nothing to mock.

That’s because there is nothing foolish or wrong about rooting for queer joy. The only thing that’s foolish is rooting against it, which you’re doing now. We have nothing to be ashamed of, and you have everything to be ashamed of.

So compile what you wish. Continue down the astonishing path of total self-unawareness. Laugh, mock, and cackle. Guzzle down your homophobia. Place your head on your pillow at night in the smug satisfaction that you’re oh so enlightened because you aren’t delusional and see that Mike and El are explicitly dating on screen, so they must be endgame.

And we will see you on the other side. And maybe, just maybe, when you’re entirely wrong in 2025 and Byler is not, in fact, bones, you’ll rethink your life and work on being a better, happier, kinder person. I pray that day comes sooner.

[mostmagical]

hi I write.

multi-fandom but mainly posting about mass effect (primarily femshep/garrus), miraculous ladybug, and kingdom hearts. all fandoms are tagged. unless I forget.

ao3 / writing tag

analysis/meta or otherwise writerly thoughts (if I feel like tagging them)

fic recs/fics by others: ml • me (or check out my bookmarks)

comprehensive fic list under read more

mass effect 💫

Shepard/Garrus:

can't breathe (ao3) poem, 629, M - Garrus on Omega, post-rocket. Blood puddle.

Heartbeating (ao3) oneshot, 3.6k, M - Shepard, Angst, Pre- & Post-Destroy reflections.

Hoping, Praying, Promising (ao3) oneshot, 2.1k, T - Garrus Study, The Handshake.

Soft Anchor (ao3) oneshot, 1.2k, T - Fluffy cuddling.

waiting room (ao3) 4/9 ongoing, T - Post-Destroy, Shepard wakes up in the hospital alone.

others: in Golden Yellow (ao3) poem, 342, G - Poem about grief. (Avitus Rix/Macen Barro)

miraculous ladybug 🐞 all completed fics and oneshots hundred word drabbles

multi-chapters:

Fate, Destiny... A Hamster (ao3 / tumblr tag) 14/14, 60k, T - Adrinette Never Met AU. Based on real life hamster events.

Maybe You Forgot (ao3) 5/5, 19k, T - Marinette remembers Oblivio AU.

Tail-End First (ao3) 2/2, 7.2k, G - Ladynoir identity reveal by minor injury. And onesies.

[petite-elf]

APA In-Text Citations

[ID: A screenshot from scribbr.com showing an example paragraph with in-text citations. The citations are highlighted, and the text reads: "Body image issues have been widely associated with social media usage in young women (Perloff, 2014). The relation between media depictions and body image concerns is well-established; a meta-analysis by Grabe et al. (2008) concluded that exposure to mass media is linked to body image dissatisfaction among women. Several empirical studies have focused on Facebook usage in adolescent girls (Meier & Gray, 2014; Tiggermann & Slater, 2013), while a systematic review by Holland and Timmerman (2016) established a relationship between social networking and body image for both women and men." End ID]

2. Chicago Style Footnotes

[ID: A screenshot from scribbr.com showing an example of Chicago Style Footnotes. The numbers are superscript numbers and correspond to footnotes.

The main text reads: This is an example of a full note,1 and this is an example of a short note.2 The footnotes read:

Stephen Covey, The 7 Habits of Highly Effective People, 3rd ed. (New York: Free Press, 1989), 75-89.

Covey, 7 Habits, 75-7

End ID]

[apas-95]

I think that the concept of immediacy is one that's pivotal to modern political analysis, but which is sorely missing in many discussions.

The most obvious example is in our existential threat - climate change. To a simple, omniscient material analysis, capitalism would be appearing to act incoherently here. The capitalist system is the expression of the political will of the capitalist class, the bourgeoisie. This class acts towards its own interests, to maintaining its own power and improving its standards of life. To this end it does many things that impoverish and oppress *other* classes - it creates masses of unemployed and unhoused people and forces violence on them, to maintain a reserve army of labour; it carries out violent redistribution of territory between its various states, wars fought with the blood of the lower classes, to restore the rate of profit; it impoverishes entire nations, repressing them politically and economically, to create favourable markets to export its capital to and import labour-power from - but climate change threatens to destroy the capitalist class as a whole, alongside everyone else. Plainly, it is not in their material interest to poison the air they breathe and the food they eat.

Why stop there, however? There are a number of other things that threaten the common ruin of the contending classes - but even so, if we focus only on the ruin of the *ruling* class, there's only one threat we need bother focusing on. Travel back to the establishment of the bourgeois republic, to the revolutionaries fighting feudal monarchy - is this in their interests? By the standard we've just established: no! Inexorably, plainly, as the capitalist class just overthrew the aristocracy, so too will the bourgeoisie themselves be overthrown by the working class. In the long term, they're simply dooming their own class to its inevitable destruction. Yet, they carry out their revolution anyway, for reasons that are quite obvious - it's not their problem right now. The eventual overthrow of their class is effectively immaterial to them, compared to the immediate benefits of revolution. In the same way, on a halfway-smaller timescale, the current capitalist class has more immediate problems to face than climate change. The long-term doesn't matter anyway if you don't survive the short-term.

This is, of course, not only applicable to climate change. Having established this premise, an important focus is the imperial core, and third-worldism. Does the working class of the imperial core benefit from anti-imperialism? Well, yes, and no! In the long-term, it's plainly evident that the proletariat of the imperialist nations would be better off under socialism. However, it's also clear that they presently *do* receive benefit, compared to the proletariat of other nations, due to imperialism. The *immediate* effect of anti-imperialist political organisation and action in the imperial core would be a worsening of their conditions, while the long-term, ultimate effect would remain a massive improvement in their conditions. In the final analysis, socialist revolution is in the interest of *all* workers - however, for some workers, it's very much not in their *immediate* interests. Understanding this, without a need for claims of ideological corruption or some innate counter-revolutionary tendency, shows clearly *why* certain sections of the working class oppose global socialism *and the circumstances that would bring about their support*.

[olderthannetfic]

Re: ‘most big fandoms are dominated by male characters so there’s less f/f’ - I think the conclusion that there’s so much more m/m and m/f out there because media with big fandoms include fewer women as characters and we are ‘just writing about the characters [we] connect with in the media [we] enjoy’ removes some of the agency involved in how we choose the media that we potentially end up fannishly enjoying. Yes, if there were more characters who are women in media with huge existing fandoms, we might see more f/f, but I think that many of us gravitate toward new media (and if we click with that new media, then new fandoms) based on our established interests from prior media/fandoms. I’ve been in online fandom in various capacities for over 20 years and in the first decade of my fannish ‘career’ I largely shipped m/m and wrote m/m. I was therefore, unsurprisingly, often drawn toward new media with m/m potential.

About a decade ago my personal interests began to shift and I found myself more drawn toward women characters and f/f. If I’m interested in women and f/f, I’m not going to keep focusing on new-to-me media with a whole slew of men and a couple women who barely interact. I’m keeping an eye out for media with several prominent female characters, media with lots of women, media with f/f potential. Luckily, that isn’t as hard to find across a variety of genres and formats as it used to be. It doesn’t always click — I enjoyed watching She-Ra and Ahsoka, for instance, and saw the f/f potential, but neither were id matches that sparked fannish creativity for me personally — but if I’m not checking out media with women and am instead continuing to watch/read/play media where the characters are largely men, then yeah, I’m going to get frustrated by the lack of f/f i those fandoms pretty quickly. That’s on me though, not on the fandom at large. If I’m not looking at what’s out there, trying to find the media that hits those iddy places and sparks the fannishness I crave, then am I really that interested in f/f in the first place? I don’t think fandom ‘hates women’, but I do think a lot of fandom just isn’t that fannishly interested in women for a plethora of reasons, and that’s fine! I do wish we could just admit that though.

There’s also…look, there are assholes in every corner of fandom. There are plenty of people out there who write posts that criticize unrealistic m/m smut, but that doesn’t seem to drive away the m/m fans from writing that super unrealistic m/m smut they want to read. Why then do a few jerks criticizing what they believe to be unrealistic f/f smut get blamed for driving people away from f/f? Did you really want to write that f/f smut to begin with? It’s okay if you didn’t really want to write it! But also, there is fantastically unrealistic f/f smut out there on ao3 with an appreciative audience. Unrealistic smut always has its place.

--

Yuuup.

I do think the few loud jerks on whatever topic have a disproportionate effect on things that people are already insecure about or that there's already less content about. Criticism from inside the house also seems to hit harder than from outside, for various definitions thereof. But I agree that there are bullies or just loud assholes everywhere, and it doesn't stop the juggernaut ships and fandoms. I think "the meanies made me not write f/f" is not a good analysis of the overall trend even if some specific people really did get bullied quite badly.

I do see people acting surprised that they don't like any f/f, yet not checking out media with multiple female leads. This is silly and we should move away from this along with ditching "There are no interesting female characters".

But another pattern I see is that, for the most part, really big fic fandoms come from things a ton of people consumed in the world overall. (The reverse isn't necessarily true: something can have mass mainstream popularity and no fic.) So even aside from willful blindness on the part of individual fans or personal reactions to gender, the overall lopsidedness of media does still matter for the big meta discussions that look at the ratio of stuff on AO3. If someone isn't really into small fandoms, they're going to have to go where the crowd is already going.

The top fandoms, according to tag search, are these (counts are different from current AO3 works if you click through, but they seem inflated by roughly similar amounts):

Harry Potter - J. K. Rowling ‎(664365)

Marvel Cinematic Universe ‎(389476)

방탄소년단 | Bangtan Boys | BTS ‎(289493)

Original Work ‎(273412)

Marvel ‎(233004)

Teen Wolf (TV) ‎(219504)

Haikyuu!! ‎(215127)

The Avengers (Marvel Movies) ‎(208509)

原神 | Genshin Impact (Video Game) ‎(207259)

Star Wars - All Media Types ‎(188548)

Sherlock (TV) ‎(169092)

Batman - All Media Types ‎(137281)

Captain America (Movies) ‎(118954)

Minecraft (Video Game) ‎(117892)

Stranger Things (TV 2016) ‎(117489)

Video Blogging RPF ‎(110169)

Voltron: Legendary Defender ‎(105117)

Miraculous Ladybug ‎(104003)

Shingeki no Kyojin | Attack on Titan ‎(103914)

魔道祖师 - 墨香铜臭 | Módào Zǔshī - Mòxiāng Tóngxiù ‎(101819)

文豪ストレイドッグス | Bungou Stray Dogs ‎(95606)

Merlin (TV) ‎(88893)

僕のヒーローアカデミア | Boku no Hero Academia | My Hero Academia (Anime & Manga) ‎(86484)

NCT (Band) ‎(85868)

Dream SMP ‎(83222)

Stray Kids (Band) ‎(82711)

One Direction (Band) ‎(79490)

呪術廻戦 | Jujutsu Kaisen (Manga) ‎(78975)

Homestuck ‎(77676)

Game of Thrones (TV) ‎(77361)

Good Omens (TV) ‎(76805)

陈情令 | The Untamed (TV) ‎(73444)

DCU ‎(71054)

ジョジョの奇妙な冒険 | JoJo no Kimyou na Bouken | JoJo's Bizarre Adventure ‎(70648)

Undertale (Video Game) ‎(68959)

A Song of Ice and Fire - George R. R. Martin ‎(67854)

Star Trek ‎(67221)

Doctor Who ‎(65172)

Doctor Who (2005) ‎(65166)

呪術廻戦 | Jujutsu Kaisen (Anime) ‎(65109)

Good Omens - Neil Gaiman & Terry Pratchett ‎(63727)

Once Upon a Time (TV) ‎(62211)

Avatar: The Last Airbender ‎(61743)

Hetalia: Axis Powers ‎(61343)

Star Wars Sequel Trilogy ‎(59581)

Iron Man (Movies) ‎(59158)

EXO (Band) ‎(58948)

Star Wars: The Clone Wars (2008) - All Media Types ‎(58055)

Hannibal (TV) ‎(56796)

Thor (Movies) ‎(56604)

I'm seeing some truly gargantuan franchises and their network of metatags, top Weekly Shounen Jump manga that are mega bestsellers far, far beyond how much any shojo manga sells in Japan, some of the biggest musical groups and most popular youtubers in the world, etc.

Some of these do seem a lot more popular with the AO3 crowd than the world in general, of course. It's not an exact 1:1 causal relationship between media's audience/impact and how much fic writers care or how much fic writers on AO3 care. It's certainly possible for fandom to make fetch happen with a relatively less popular canon; it's just not the default and not driving the big overall numbers.

I look at The Untamed and (often mistagged) MDZS) being on this list and I think of all those hot fanvids for f/f Chinese dramas.

I keep seeing fans watch one, go "Okay, I have got to watch that next!" only to be disappointed that the canon is a handful of 5-minute episodes, not some epic 50-episode thing like the censored m/m ones and the bromance ones and the het ones get. They want The Untamed-but-with-ladies, not the reality of those canons. I suppose there are some nominally-straight series with two female leads and not a heavy focus on a het romance with just a single female lead, but the one I'm thinking of was reportedly godawful and the people who saw potential between the women had no interest in writing fic about it.

Do any of those f/f c-novels have good translations? That's not what brings the big fic crowds (it's the adaptations that do that), but maybe I should try reading a few. I just keep getting turned off of Chinese webnovels in general by dodgy translations.

[betterthanbatman1]

This is so. Fucking. Stupid.

Before I dive in let me just say: This writing is so pathetic simply because this is how humans act?? Like how fragile does Bruce’s ego have to be that he’s going to start a fist fight with his son. It’s like in the damn high school movies where the bully pushes a girl and the other guy punches the bully in the face. People don’t just go around punching people!! They get frustrated and angry but they don’t just fucking punch someone who they disagree with!? (Majority of the time)

Now for the actual analysis: I actually had high expectations for this, I really thought that writers have learnt that no we actually don’t love seeing Bruce beating the shit out of Jason/his kids. “hEs a ViGaLaNtE and Jason’s a cRiMiNaL” fuck off that’s not an excuse.

Honestly Jason shouldn’t even try to convince Bruce anymore, it’s always the same shit. “They’re bad people, they deserve to die”

“You don’t get to decide that” *punches his son in the face*

How many times have I had to read this?? Every fucking comic that includes Jason and Bruce ends up in a fist fight. I’m fucking sick of it.

The writing was genuinely so stupid

“If you think one more death is fine if it stops more death- then shouldn’t I kill you?!”

There’s so much here that just doesn’t make sense and that’s excluding the fact that Bruce is threatening to kill his son.

Do these contemporary writers not understand that Jason doesn’t kill everyone who may kill others. He’s not a “Mass murderer”. He kills the dirtbags of Gotham. He kills the worst of the worst. He kills the r*pists, the abusers, and anyone who brings harm to women, children and the vulnerable. He doesn’t go storming into a restaurant and shooting up the place??? That’s what a mass murderer would do.

Now with that in mind, the logic would be No Bruce you shouldn’t kill Red Hood because he doesn’t just kill people. You wouldn’t be reducing the deaths in Gotham because without Jason killing the scum who terrorise the vulnerable, then there will be more deaths. Killing Jason if anything would increase crime. In UTRH, when Red Hood first appears, Batman himself said “crime is down”. That shows that what Jason does is in fact effective, which is why he does what he does. If Jason was just a killer killing other killers, Jason’s whole reason his own morals would not be consistent or accurate!! If that was the case then yes YES Bruce you should theoretically kill Red Hood. If if if god forbid Jason was one of the nasty scum of the earth that he tries to wipe out, then yes by his morals he indeed deserved to die.

These writers are so clouded with having this raw masculine rage between the two characters; being allowed to kill someone or not, that they blindly and stupidly forget that both of these characters are human and therefore have complex morals and values.

Jason fundamentally believes he is doing good for Gotham- and the statistics prove that!! Bruce knows that what Jason does is needed. He knows that Jason’s methods help Gotham. Jason is a consequentialist and both Jason and Bruce should know that. Likewise, Bruce is a deontologist, he believes the actions are wrong and immoral but he knows that Gotham is better off. He just doesn’t agree with the methods. Jason said himself “I’m doing what you won’t” Bruce knows Jason isn’t a dumb vengeful maniac terrorizing Gotham. So why the fuck did the writers bring these characters so low that Bruce would even suggest that Jason should be killed along with the other criminals.

Lastly, if the answer was yes, then Bruce why the fuck are you asking to kill your son? Like you’d actually do it you little bitch. Kill the joker first and then ask about your son.

Really shitty writing, it’s so frustrating. Like, I was actually excited to see what this new Jason comic was going to give me. But now…More fights between him and his Dad. Yippeee this is really what the readers want. Smh

Call me naive but I just thought maybe Jason and the bats would be able to connect without beating the shit out of each other.

[veliseraptor]

March Reading Recap

Juliet: The Life and Afterlives of Shakespeare's First Tragic Heroine by Sophie Duncan. I actually really liked this one! It was an interesting look at several different lenses that have been used over time to look at Juliet (specifically Juliet, not the play), including the relationship between fascism and Juliet in Verona, Italy and the development of West Side Story (didn't know Juliet was Jewish in an early version). I enjoy sort of niche/specific books focusing on a very particular subject, and this book scratched that itch well.

The Brilliant Abyss: Exploring the Majestic Hidden Life of the Deep Ocean, and the Looming Threat That Imperils It by Helen Scales. I read this book too soon after The Underworld by Susan Casey which, while not necessarily a better book, covered a lot of the same terrain. The trouble with a keen interest in a niche topic is, I suppose, that the books on it can start to get repetitive sometimes. It was still good, though, and this one focused a bit less on the history of human exploration than Casey did and a bit more on the ecosystems themselves, which I did welcome.

Blood of the Chosen and Emperor of Ruin by Django Wexler. The second and third books in the series that started with Ashes of the Sun - both continued the trend of "I don't know that I'd call these particularly good works of literature but they were very enjoyable and propulsive." The second book was stronger than the third - I ended up feeling like the conclusion of the trilogy was weaker and a little rushed, but I still enjoyed the experience as a whole and would offer at least a tentative, general recommendation of the series for those looking for a fantasy series that's not particularly innovative or serious but is an exciting ride.

The First Sister by Linden A. Lewis. This book reminded me a little bit of Such Desperate Glory but wasn't quite as well done, I don't think. The back compared it to Mass Effect but I don't really see that as a reasonable comparison. Possibly one of my favorite things about it was the cover design, which fucks. I still liked it, though, and I'm going to read the sequel.

The Great White Bard: How to Love Shakespeare While Talking About Race by Farah Karim-Cooper. Sometimes when I read things I feel like a snot because I go "this is interesting information but the writing feels a little amateurish" and that was my situation with this book. It was good analysis and interesting to read, though sometimes the "and this is how this is modern-ly relevant! q-anon mention" felt a little bit...ehhh, unnecessary, but the writing itself was...yeah. It felt amateurish. Which might just be a result of the book itself being targeted at a particular audience that's less academically-minded than I am, that's certainly possible, but it did affect my enjoyment of the book.

Last Days by Adam Nevill. Mostly this was good spooky fun, though it lost me with the "the ultimate bad guy is an overweight bisexual actor with AIDS" (it's a little more complicated than that, but not enough). Too bad, because conceptually and in terms of imagery it could've been very good. Between this and my last Nevill, I might have to give future books a pass. My search for horror that isn't playing on bigoted tropes apparently continues, since I'm on a bit of a streak there with this and Ring.

China: A History by John Keay. I'd call this one a solid overview despite the choice to use "bureaux" for the plural. However, I'm taking a lot of it with a grain of salt since as far as I can tell he didn't use many or possibly any Chinese secondary sources, and relied primarily for quotations/analysis on English secondary sources. I would've liked to see more of a balance. Still, as far as background information and a general broad history goes, it feels like it was worth reading for me to get a little more background/grounding in history I don't have a lot of familiarity with. (Also, holy shit did Ken Liu crib hard on Liu Bang and Xiang Yu for The Grace of Kings and now I know that.)

Remnants of Filth: vol. 3 by Rou Bao Bu Chi Rou. I continue to really enjoy this book and this volume might be my favorite yet - the flashbacks were satisfying to fill in some of the gaps in mysteries as yet unrevealed, and having Gu Mang fully "back" (more or less) is a fun development that is already having consequences changing the dynamic between him and Mo Xi in delightfully angsty ways. Of the cnovels I'm currently in the middle of this one is close to LHJC as far as my favorite.

Starter Villain by John Scalzi. This one is what I think people would call a "romp" which is all well and good and I probably should've known what I was getting into, but I think I am just not much of a "romp" reader. It was fun, I guess? But I don't know that I felt like it was good, and I'm probably not going to go around recommending it. My first Scalzi, and I don't know if that's typical of him, but I probably won't be in a hurry to pick up another one anytime soon.

Invisible Planets: Contemporary Chinese Science Fiction in Translation ed./trans. by Ken Liu. Short story collections are really hit and miss for me, but this was actually a collection that was pretty hit all the way through! Very interesting stories, a couple I'm still thinking about. I'm looking forward to reading my other collection of short stories in translation, which includes some fantasy - some of these actually felt somewhere between fantasy and science fiction in a very interesting way that I liked.

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phew. I read a lot last month! Currently I'm reading Medea by Eilish Quin (we'll see how that goes); I have on my docket The Mountain in the Sea by Ray Nayler (recommended to me) and I think I might reread She Who Became the Sun so I can read He Who Drowned the World. I've been on more of a fiction than a nonfiction kick of late, but I am eyeing Islands of Abandonment by Cal Flyn and might make that part of my rotation. we shall see!