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tabriscadash · 3 years ago

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I was asked this on my old blog right as I set about transitioning to this one, so...

The first character I ever fell in love with: for DA:O, dare I say Daveth? What can I say -- I irrationally got incredibly attached to him. otherwise, DEFINITELY Morrigan, and I have crystal clear memories of my first run through Lothering and looking at Morrigan like 😍 the whole time. For DA:2/E, Carver -- unless you count Anders & Justice since I knew of them from Awakening beforehand, in which case probably Justice. For DA:I, it’s a toss-up between Vivienne or Cole -- I technically liked Cole first but SPECIFICALLY in the supporting material (Asunder), and didn’t vibe with him anywhere near as much in the game, AND I got him as a companion after I got Vivienne, so probably Vivienne.

A character that I used to love/like, but now do not: for DA:O, I guess Oghren? I never loved him, but I liked the idea of him because I really liked the dwarves/Orzammar side of DA’s worldbuilding -- but he’s such an unlikeable character that I just.. don’t vibe with him at all. I debate recruiting him every single time now, and I don’t think I ever do his personal quest (in the base game OR Awakening). for DA:2/E, I don’t really have anyone that fits -- but I REALLY wanted to like Merrill and Aveline more than I did, and especially in Aveline’s case, I can’t stand her and genuinely think she’s the unintended, secret Big Bad of the whole game. for DA:I, probably Cole, bc I was really into the idea of a little walking-corpse serial killer animated by a spirit as per the book, but that’s not really the vibe in DA:I, and combined with the somewhat patronising/ableist language and how significantly he is infantilised (including by the fandom) I just got put off him. I do still like him, but not as much.

A ship that I used to love/like, but now do not: for DA:O, I don’t really have one? I guess see my DA:I answer, lol... for DA:2/E, has to be Anders - I don’t think he’s OOC in 2, but I think his writing does so little with him and he feels v. reductive. Where his relationship could be SO interesting and angsty, it instead is written in a really dull and/or cringey way. It would have been nice to see Anders more like the Anders of Awakening near the beginning of the game (rather than random, infrequent and questionably rare snippets), and then see the progression of his relationship with Justice as the game went on -- I want more interesting abominations, PLEASE. for DA:I, listen I cannot express to you HOW EXCITED I was for my planned Lavellan to romance Sera… also I used to be way more tolerant of Cullen x Amell/Surana ships because, like, hey dark ships are fun, right? But since Cullen’s ~wholesome whitewash~ in DA:I, and his fandom clamouring to absolve him of any wrongdoing ever.. it’s boring to me.

My ultimate favourite character™: for DA:O, probably Sten? or Morrigan. They’re both fantastic, and also are significant comfort chars for me. for DA:2/3, honestly, probably my own Hawke -- I feel so hugely proud of her, and can’t imagine I’d enjoy the game anywhere near as much had I not played it as my Hawke. If not her, maybe Sebastian or Carver? for DA:I, I really love Vivienne, as well as Blackwall, and Solas is a great character even if I probably would not say I liked him.

Prettiest character: for DA:O, we all know it’s Zevran. for DA:2/E, I think Aveline -- although her aggressively bland colour-scheme lets her down in a major way (although I respect her dedication to all orange all day every day). There’s just something about her arms -- very Abby from TLOU:2. for DA:I, maybe Josephine? Ser Barris is very pretty, too...

My most hated character: for DA:O, I really didn’t like Alistair, Wynne and Oghren, and of my companions - Oghren is probably my least favourite. He’s vulgar and also profoundly uninteresting. for DA:2/E, it has to be Aveline. There’s just something about ineptitude and a complete, wilful refusal to take accountability for your actions that I can’t stand. It would be okay if it was an intentional character flaw, but the game/narrative treats her like she’s lawful good and it really annoys me. for DA:I, maybe Iron Bull? He was a huge disappointment for me. I also really dislike Sera, Cassandra, and Varric. I’m so sick of Varric - I never want to see him again.

My OTP: for DA:O, I really loved Zevran’s romance -- but I am also very amused by the fact that Leliana got to ‘love’ status with Kallian accidentally, AND I got the ‘love’ glitch for Justice (👀) and Velanna. I do sometimes wonder about an AU where Kallian is forced to make a politically expedient marriage with Nathaniel Howe for diplomatic reasons in order to consolidate her position as Arlessa, and it being an entirely platonic arrangement (it’s not like anyone expects an heir from an infertile Grey Warden) -- and maybe Zev and Nate kiss sometimes, who knows? I also LOVE my Darkspawn Chronicles AU where Kallian and Nelaros are a happy, married couple each hiding their skills with weapons from each other like dumb, cute sweethearts. They shelter Zevran when he fails to kill Alistair and a poly couple evolves. for DA:2/E, I love the IDEA of a Seb romance that isn’t so strictly conditional around the structures that abused him -- he should be allowed to love, chastely or otherwise, but free from the Chantry OR his position as prince/heir. I’d LOVE to actually have a romance with him where you can actually challenge the abuse he’s experienced. for DA:I, Malika doesn’t have a canon romance (although I think when I replay, I’m going to romance Josephine!) but I think Blackwall has an amazing romance. Solas’ is also iconic, it must be said.

My NOTP: for DA:O, I really dislike Alistair in a shipping capacity; he’s immature and says a lot of misogynistic shit and I don’t think he’s the worst for it, but I don’t really vibe with shipping him, having played the game as a female city elf. for DA:2/E, I wouldn’t say I have one, particularly? although I really dislike Aveline’s relationship with her husband simply because it seems incredibly inappropriate, given that they work together and she has power over him -- and because I dislike her, generally, I don’t feel inclined to do something nice for her. for DA:I, I suppose Sera/Lavellan -- although I’m not AGAINST it, it just really isn’t for me, having attempted it. I also don’t really vibe with Dorian x Iron Bull. Something abt the way the game handled BDSM and their relationship banter specifically I don’t really like.

Favourite episode quest: for DA:O, probs Orzammar/the Deep Roads. I really love the dwarven lore! and, of course, Fort Drakon is really funny, even though it’s not canon in my game iirc. for DA:2/E, maybe the murder mystery with the serial killer, where ultimately Leandra dies? I also really enjoyed all the companion quests. for DA:I, The Descent (just, all of it, lmao) and everything to do with the Avvar. Crestwood also BANGED.

Saddest death: for DA:O, it’s frankly a fucking INJUSTICE that Shianni gets murdered if you make her Bann of the Alienage -- the idea of that happening whilst Kallian is in Amaranthine and unable to protect her :( genuinely very upsetting. I go back and forth on who is made Bann, tbf, so idk how canonical it is: I think maybe Cyrion would get it, but I’m also endeared to Soris holding the position, with Shianni as Hahren. for DA:2/E, Bethany. I wish both twins had had the chance to reach Kirkwall :(. Let Leandra die instead. for DA:I, maybe not the saddest death, but the most memorable for me was that one sleeping dragon in the Hissing Wastes.. leave her alone. Stay out of a womans’ business.

Favourite season game: DA:O!

Least favourite season game: DA:I.

Character that everyone else in the fandom loves, but I hate: for DA:O, Alistair. I cannot deal with his complacency and hypocrisy. for DA:2, I really disliked Merrill but I honestly cannot remember why. DEFINITELY Varric -- I hated how the game forces you to be his best friend, and if you’re low approval, you have to endure these pointless pissy little comments with this little anti-dwarf centrist pissant. After the expedition, I literally have no reason to put up with him, and I NEVER take him out. I hate that he plays the same role in DA:I, too. for DA:I, the Iron Bull was hugely disappointing, and I also really don’t vibe with Cassandra. She just seems very wishy-washy and complacent and hypocritical, and many of her comments about other cultures seem snide for literally no reason other than bigotry.

My ‘you’re a piece of trash, but you’re still a fave’ fave: for DA:O, lbr probably Sten. Mans is gonna launch a HORRIFYING invasion in the next game iirc and frankly, I’m ok with it. Just wanna see that big bastard again ❤🥵. for DA:2/E, I LOVE Gamlen, ok? for DA:I, I am not sure if I have one.

My ‘beautiful cinnamon roll who deserves better than this’ fave: for DA:O, if any of you so much as LOOK at Velanna wrong, it’s hands. That includes Bioware. I also feel incredibly protective of and sad for Morrigan. for DA:2/E, probably Sebastian -- I feel so sad for him, and so frustrated by the limitations with the game. for DA:I, I’m honestly not sure.. maybe Josephine? I don’t really feel this way about Sera, but I do think she deserves better from the game and its writing, and also from fandom: there are valid criticisms of her, but the hate she gets is not proportional to any valid issues with her -- and gee, I wonder why that is.

My ‘this ship is wrong, nasty, and makes me want to cleanse my soul, but i still love it’ ship: for DA:O, I did use to find Cullen x Surana/Amell intriguing as a dark ship -- I actually hc that Neria Surana is actually Nelaros’ sister, and have dabbled with it as a dark ship. I also am interested in Loghain/Alistair - which each pretends the other is someone else. Alistair is wooby, hate ships are, in general, fun -- so long as we acknowledge that they are, indeed, unhealthy ships. for DA:2/E, I kind of feel like Sebastian romances are, invariably, kind of dark... and, similarly, Anders romances -- especially with certain red Hawkes, The way it ends is, invariably, bordering on fucked up. ALSO Hawkecest is weird and wonderful: GET WITH IT.

My ‘they’re kind of cute, and I lowkey ship them, but I’m not too invested’ ship: for DA:O, I joked about Velanna x Leliana once and I’ve not been able to stop thinking about it ever since… Velanna x Sigrun is also something that can be so personal. Ariane x Finn is adorable and are paid DUST by Bioware AND fandom. I actually am really into Anora x Nathaniel & NO I will NOT explain myself; it’s a crackship but it’s MY crackship. for DA:2/E, Isabela x Fenris is super cute, but I don’t pay enough attention to them to really have super committed thoughts & feelings on them. for DA:I, Blackwall x Josephine is cute as a background ship; I also think Maryden x Cole is sweet.

#meta #mun

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highladyluck · 4 years ago

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For the fic title meme: Lay Down Your Crown and Sword

So, I was thinking maybe this is about Aviendha's feelings about Rand when they're in the Aiel Waste... just kidding, I know what the people want from me.

Wheel of Time, Mat/Tuon, post-canon, ANGST. This is one take on a scenario where Mat attempts to achieve his stated relationship goal, which is convincing Tuon to abdicate and run away with him.

(This sucker is LONG and SPOILERY so I’m putting it under a cut.)

It's ~2 months after the Last Battle. There's growing danger to Tuon- an almost-successful assassination attempt (my money's on Moghedien) that scares Mat, Selucia, the Deathwatch, and maybe even Tuon herself, just a little. The sul'dam secret is leaking out and emboldening the faction that wants to kill her, there's worry it'll lead to local rebellion, plus there's still the Seanchan homeland power struggle. Mat uses all this to convince Tuon that she needs to lie low for a while. His idea is for her to fake her own death, install a puppet successor secretly loyal to her, and go hide out with him in a place no one will be able to find them for a few months.

She's not thrilled about it initially, but it's not like she hasn't faked her own death before (love that about her!) so she agrees to Mat's plan, which is 'hang out in a Portal Stone alternate timeline'. (Mat would not come up with this on his own, Mat does not like Portal Stones, but Min suggested it and he eventually agreed it would suit their needs.) Tuon would prefer something where she could keep an eye on political conditions more easily, but she feels safe with Mat & appreciates that this is definitely a secure option, and she's been out of contact with home base before for a while and been fine. Selucia stays in the palace, to keep an eye on things and do intrigue (and also give Mat and Tuon actual alone time- I am entertained by the grudging truce between Mat and Selucia, but her chaperone services are not needed this time around.)

They've got an official pickup scheduled in a few months, about a month before Tuon's due; Mat thought about waiting more time to go back but he'd rather have the option to call in trusted medical help for the birth and he wants to leave a wide margin of error for the actual due date. He intends to rope in Nyneave if it seems necessary, although he doubts he'll be lucky enough that Nyneave would help Tuon out of the goodness of her heart or even as a favor to him. More likely Nyneave's help would cost Tuon in political concessions, which he will have to either convince Tuon to accept- assuming she's in a position to make that kind of choice- or negotiate on her behalf, if she's in too much immediate danger. Either scenario keeps him up at night, but the alternative is worse. Also, he hasn't run this contingency plan by Tuon yet- likely because he isn't totally against the idea of extracting political concessions from Tuon, so there's guilt as well as fear of how she'd react. The other thing Tuon doesn't realize about this vacation plan is that Mat is hoping to convince her to move there forever- if it's nice- or at least to keep faking her death and start a new life with him somewhere in disguise in their reality.

The Portal Stone world is one that's relatively close to their world, so it has people and feels fairly familiar, but the apocalypse hasn't happened yet and doesn't appear to be doing so in the near future. (For fun let's say the obvious divergence is Damodred-related; maybe the non-asshole Damodred branch is in charge, so you don't get Laman's Sin and/or Tigrane is actually happy in her political marriage, so the Dragon hasn't been reborn yet.) Tuon's ok with the 'vacation' vibe at first, we get some cute romantic bonding moments between her and Mat as they do normal people things, they have some cute dates in taverns or whatever. But Tuon becomes increasingly bored and anxious and frustrated about not being able to keep tabs on what's happening- probably some residual trauma from the last time she went AWOL with Mat, and came back to find her homeland in shambles and her family dead. So that's a source of conflict, especially since she doesn't actually confide that in Mat. She also keeps wanting to hash out political/military plans for when they get back, but Mat keeps trying to distract her, or makes arguments she doesn't like (re: Seanchan policy reform). Maybe Mat brings up the Nyneave contingency plan because he got worried about her health, and Tuon's like 'uh how long have you been sitting on this idea, when the fuck were you going to run it past me, the person it most concerns?'

Their relationship has always had an element of conflict in it, but back then they were strangers, had rules of engagement constraining them, and a kind of shared purpose. Their conflict was a kind of game that they played together, and it drew them closer. Now they know how to get under each other's skin and aren't constrained by witnesses or promises, and they have a shared mission (keeping Tuon safe) but don't agree on who is in charge of it. What's holding them together still is their own compassion and affection for each other, but they're not great at communicating it with words and now they're using words as weapons sometimes, so most of the reconciling is with gestures/gifts/actions. In general, things are tense and there's not much going on outside of their own interactions to distract them; Tuon's temper is flaring, she's feeling powerless and like her personal integrity is being attacked sometimes; Mat's being propelled around by his gut reactions and he's scared of losing her (and the baby), in any number of ways, and mad that she doesn't want what he thinks is best.

Finally the scheduled transit date arrives and they pop back to their original universe and get caught up on the news (maybe from Min?) Over in Seanchan, possibly emboldened by news of Tuon's 'death', a warlord has consolidated most of the warring factions. Now they know who to go after, and a war in Seanchan would help unify the Seanchan in the westlands; the Seanchan military-industrial complex loves a good patriotic war. Things domestically are a little better than before they left. Selucia flushed out the network from the earlier assassination attempt and is generally keeping things running and the puppet ruler honest.

Tuon's relieved; she was really worried that everything was going to fall apart when she was gone and now she's kind of grateful for the break. She tries to tell Mat this without actually admitting that she's got trauma around it, because the Empress doesn't admit weakness and Tuon the person is extremely bad at talking about feelings anyway; she's like "Ah, that's much better news than I came back to last time you kidnapped me. I'm glad to be back to work again, let's get to it." Mat's irritable, not catching on that she was actually really worried about it based on her previous experience, and thinking she didn't appreciate the break, and also worried that his plans to convince her to leave with him aren't going to work. Tuon catches that he's cagey and unhappy and not getting her jokes, and she remembers that this was what he seemed like when she first saw him in the Tarasin Palace. Mat argues that they should at least wait until the baby comes, that the person she put in charge is doing well, they can certainly let them rule a while longer. He says he's not sure it's the right time to attack Seanchan, he'd need to check the troops out, sniff out local sentiment. He's not decisive or commanding or focused when he says these things- it's stalling, it's bravado covering panic. It dawns on her- oh shit, he's gonna run.

Tuon's spooked. She KNOWS Mat now, but that doesn't mean she knows what to do to hang on to him. She doesn't know how to deal with a loss of control in her personal life, so she turns to what she knows she can control- the empire, her role, her property. She takes refuge in past promises. She tells him they will discuss the disposition of the army and the prosecution of the war in Seanchan once her heir is born and she's officially 'off the hook'. Mat looks grim.

Tuon wanted to announce that she's back immediately, but she starts having contractions and Mat's like 'you are absolutely not going to return from the dead right this second, you're super vulnerable right now.' They stay in a relatively secret spot in Tuon's territory with a small coterie of loyal retainers until the baby is born; it goes fine. There is one (1) cute bonding moment between Tuon and the baby and Mat; then the baby vanishes. Mat was on guard along with the usual people you'd expect to be on guard (not Karede, Selucia, or Min though). Tuon FUCKING KNOWS Mat did it with Aes Sedai help, she's initially furious and betrayed, but Mat isn't admitting it and within the extremely tight circle of people who know about the vanished baby, he's doing a reasonably convincing job looking as freaked out and upset as everyone else, and she's still hoping she can resolve this privately without any drastic public actions.

She takes Mat to a private place and she tells him that she has always, always been able to trust him. She trusts him so much it terrifies her. She does not know if this is what love is, but it is what she feels for him. She asks him to honor that, to honor himself, and not to lie to her. She then asks him why he kidnapped their child. Mat staggers, and blurts out that he can't bear the thought of their children constantly at risk of assassination, from strangers or their own siblings. He has nightmares about their child beginning to channel, or being able to learn, and what that means for them in the Empire. Tuon's made her choice and he'll respect that, though he hates the risks to her, and what the Empire does to her and others. But their child deserves the choice Tuon didn't have. He loves Tuon, but he cannot love the Empire, and he will not fight in the Empire's wars, and he will not let the Empire own his children, whether that's as royalty, sul'dam, or damane. He says he trusts she'll come to the right decision about what to do with this information.

The next scene has Tuon in mourning white. It's neither Tuon's nor Mat's POV- probably Karede, or maybe Min. In front of the whole court Tuon, as Empress back from the dead, bestows the Bloodknives ring and blessing on Knotai, and orders him to take a few members of the Deathwatch (the ones on watch the night the baby vanished, our observer notes) and assassinate the warlord in Seanchan on her behalf. She says she trusts he will succeed. They stare inscrutably at each other. The court is shocked into silence at first, but the whispers rise behind Mat as he straightens from his extraordinarily polite leg and heads out of the chamber. It is left up to the reader to decide if this is an elaborate plan to fake Mat's death and set him free, or his execution.

--- You may notice this is suspiciously fleshed out for a prompt I received this afternoon. XD I've been kicking around some of this premise for a while, though this ask made me finally come up with the circumstances that get Tuon to actually agree to temporarily leave her job, as well as most of the details. The main emotional beats came from stringing together several Mountain Goats songs, because of course it did. The whole sequence is Twin Human Highway Flares, Riches and Wonders (Eliza Rickman cover), Alpha Incipiens, Fault Lines, New Britain, Family Happiness. I’m not sure if I’ll actually turn this into a finished story with description and dialogue and everything, but it’s possible. This is also not the only Mat/Tuon post-canon idea I have kicking around! It’s not my ideal scenario for them for sure, but it’s a lot easier to write a ‘bad ending’ for them than to work on my ‘good ending’, because I have a lot more emotional investment in the ‘good ending’... perfectionist problems. :/

#wheel of time #fic title meme #livlepretre #mat/tuon #wheel of time fanfic #problematic fave tuon

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corancoranthemagicalman · 5 years ago

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C’s Sort Of Bi-Monthly Rec List

Guest Starring WITCHER FICS (and by Witcher I mean Geraskier,,, whoops,,,)

I’m gonna tag @protectjaskier in this because they were asking for Fic Recs and I’ve been meaning to post a Big Ol’ Fic Rec Masterpost.

i’ll be here all week T+ 2.7k by Pence ( @phckpence on Twitter )

A beautiful fix-it fic with an open ending that leaves the reading very hopeful. No kissies, unfortunately, but sometimes that smile is just as sweet a sign of affection. This was actually my first bookmarked fic!! Really well done. Non AU

His Touch M 6.2k by Sevent ( @seventfics on Tumblr )

Some beautifully done Hurt/Comfort touch-Starved!Geralt. Excellent pacing with some wonderfully executed Roach and Jaskier friendship. There are some great characterizations done in both dialogue and monologue. Non AU

front row praises E 25k by The_Watchers_Crown

You might THINK this is just my horny on main recommendation (which it is, partially) but it’s ALSO super friggin’ soft and heart-warming. I don’t want to spoil anything, but it’s got one of the most gut-punching lines that makes my knees weak. SPOILER: it goes something like, "I don’t like riding away any more than you like watching me go.” Non AU

Honey You’re Familiar T+ 10.2k by WednesdaysDaughter ( @sweetambiguity on Tumblr )

Okay, I’m gonna blast out WednesdaysDaughter as one of my favorite Geraskier fic writers. I just now followed their Tumblr as I was writing this up. Amazingly talented and very sweet. AnYWAYS! This fic is the amnesia fic I didn’t know I wanted. Very well done with good friendships and pining. Non AU

Rules And Regulations T+ 5.4k by ohmygoshwhatascream

Another Jaskier and Roach friendship feature. The horse is actually a metaphor for love, just like the tag says. A really well-done fic that plays to all of my favorite characterizations and relationships. Non AU

Truth and Roses T+ 4.4k by dornfelder ( @uniwolfwerecorn on Tumblr)

VERY SAD. UNREQUITED LOVE. PINING IN THE HIGHEST DEGREE. MURDER OF MY HEART. But very well done. I usually don’t recommend anything but Happy Ending fics because I don’t read anything but Happy Endings; however, this is the one exception I can think of off-hand. Non AU

A Rotten Tongue T+ 9.2k by xdandelionxbloomx ( @xdandelionxbloomx on Tumblr)

Yet another Geraskier Author I highly recommend. (I probably would recommend more but I am so, so bad at names.) This is one of my favorite Banshee!Jaskier fics though!! One of my favorite Creature!Jaskier headcanons done in exceedingly high fashion. Bravo. Non AU save for Jaskier isn’t human

home is nowhere, therefore you E 18.1k by Ark ( @et-in-arkadia on Tumblr )

I’mma be honest. This is one of my favorites. I’ve read it three times. So, so, so well done. Excellent use of Fae-lore and fairy tale elements. Of course, that E tag is telling of some very steamy times as well. So you can have your cake and eat it too. Non AU

The Witcher Wolf T+ 11.4k by im_fairly_witty ( @im-fairly-whitty on Tumblr)

Curses and True Love meet in this excellent Hurt/Comfort fic. Jaskier’s heart has a lot of wounds and maybe this strange and beautiful wolf can help him out. Really, just an all around excellent use of the curse and wonderful take on Jaskier’s character. (And the other characters too!) Non AU

Horse Sense M 17.6k by Miershooptier

Another fic with Roach as a main character. Need I say more? Jaskier and Roach always have such a beautiful relationship as depicted by the fandom. I greedily take all of them. Non AU

Of soulmarks and one-sided matches T+ 17.2k by ylc

SOULMATES! One of my favorite soulmates. It’s words written on skin soulmates and it’s just,,, very lovely. Very well done. Lots of pining and I love it. Soulmate AU but it takes place in a very Witcher ‘verse so?

Truth of The Heart M 22.3k by CosmicOcelot

PLEASE PAY ATTENTION TO THE WARNINGS. There is plenty implied noncon and that might make ya iffy. If you can get past the tags, this is DEFINITELY one of my favorites. Excellent storytelling that’s reminiscent of the show’s unusual timeline presentation while still being easy to follow along. It’s gonna hurt before it gets better, but it is well worth it. Non AU

500 Crowns M 9k by vands88

Here’s the thing. This fic is Established Relationship and yet We’re Sort Of Fucking Each Other But Don’t Talk About It So Here We Are. I love it. Geraskier is like the main focus but there’s still a beautiful use of Found Family and Ciri as a really good character in this. I’ve seen it be rec’d by a few people and it definitely deserves it. Bravo job. Non AU

tounges tied M 14.4k by gwynnbleidd (imnotokiedokey)

I haven’t had a language kink like this since Game of Thrones. (Thanks, David. Peterson.) Very very amazingly done fic with awesome characterizations of Jaskier, Geralt, and the scenarios in which they find themselves in. The second chapter has the in-text quotations which lowkey wish I had known before reading the first chapter and linking to each translation, but it was all definitely worth it and the second chapter made me read it again. Non AU

a kind of emptiness E 1.3k by iven ( @summoning on Tumblr )

This is the fic that introduced me to the possibilities of Chireadan and Jaskier. Another bittersweet ending but I really liked it. Bravo. Non AU

My Heart Is Growing Weak T+ 5k by WednesdaysDaughter (I told you I liked this author)

We all wanted a fic based off that similar mythos that Pirates of the Caribbean did with a heart in a jar and this fic delivered. Happy Endings, promise. Non AU

Do It Again E 6.7k by thisgirlsays22 ( @geralt-jaskier on Tumblr )

Time Loops? Time Loops. I usually don’t like time loops. I don’t like time travel and I’m very picky. HOWEVER, this one definitely deserves a top spot on the list. Geralt has to relive the three days of the Dragon Hunt and realizes a few things. (Done for Day 5 of Geraskier Week. I don’t know if I missed any of these other ones being a part of that. Whoops.) Non AU

How To Protect Your Bard T+ 5.4k by bulletincookie

ACCIDENTAL COURTING FIC. ACCIDENTAL COURTING FIC. ACCIDENTAL COURTING FIC. Do I need to say more than that?? Really?? How about disgruntled Geralt being protective and Jaskier being romantic? Yeah? Yeah. Non AU

Broken Lute G 4.6k by CasuallyScreaming ( @casuallyscreaming on Tumblr )

Fix-It Fic. This one has some gorgeous dialogue. I literally started rec’ing it after the first line Geralt spoke. Very excellent. Bravo. Non AU

I’ve got a few more bookmarked that are all excellent which you can find in my bookmarks. If you look through my #geraskier on my blog too you can find some Tumblr only fics that I’ve reblogged. Those are also extremely good. I should probably start tagging with #geraskier fic or something to consolidate them lol. Anyways, big thank you to the Geraskier Fandom for some amazing fics.

#geraskier #gerlion #the witcher #the witcher netflix #Jaskier #jaskier the bard #dandelion #geralt of rivia #geralt #found family #soulmates #fix it fics #fic recs

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megatentious · 3 years ago

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Fragments of Forgotten Message Board Posts

Dragon Quest wasn’t always my favorite RPG series (I have three favorite RPG series right now). But here is a short story with a couple of twists and turns about how it became my favorite; also, this story is my personal retrospective review of Dragon Quest 7.

My first memory of Dragon Quest, before it became the series that makes my heart feel full, was a short preview of Dragon Quest 6 from the EGM import corner. I must have known about Dragon WARRIOR much earlier than that (even though we never had a Nintendo I was sufficiently FF-enthused to know about the Big Rival to Final Fantasy) but memories work in funny ways and that’s the one I have. I remember the caption on the screenshot pointed out how impressive it was that there were so many items on the bookshelves. I remember thinking this game looked so incredible, and how if it was anywhere as good as “Final Fantasy III” that it was going to be a must play.

But how was I going to play it? The answer, in 1995, was to have a best friend who went to Asia every summer and brought back dozens of carts and CDs each time. One of those carts was Dragon Quest 6, and once I scooped out my Super Nintendo’s innards to allow myself the ability to play, I was treated to an evocative campfire and SNES strings and a dream-like atmosphere that was everything I’d hoped for. I could only manage to get through a few hours of it without any JP language skills, but that was more than enough to leave a lasting impression.

I know that Dragon Quest 6 is a weird answer to the question of the first Dragon Quest you played. I’m not one of the NES kids who started with Dragon Warrior, or any who started later with the ports on Gameboy Color, or anyone who started even later with the ports on DS or 8 on PS2 or 11. I began my affair with Dragon Quest with expectations that this series had top of the line production values, and so this may begin to explain the mindset with which I approached Dragon Quest 7.

DRAGON WARRIOR VII is a game I bought at launch on my six year old Playstation after years of waiting, ready to experience this storied series in English for the first time. I don’t know why I didn’t know about any of the GBC ports, but despite some trepidation at the environmental visuals I was excited to start. And for the first 40 hours or so, I had a wonderful time. The structure was so intriguing to me, the battle scaling so modest but compelling. However, by Hour 100 (this is a period of time in my life in which every RPG I played got finished no matter what) my attitude about the game and Dragon Quest in general reached the point where 10 years later I was still sufficiently … passionate enough to make message board posts like this:

So the upshot here is that Dragon Quest 7 was a game that made me resent a series I was supposed to love, which in my mind made this game unforgivable. Months after making this post I would finally play Dragon Quest 5 on PS2 on my laptop and my love for the series would skyrocket further (one day I will write an essay about that perfect game and the lengths I went to more perfectly play it). And then one year after that they would announce a remake of DQ7 for Nintendo 3DS.

This announcement. Rather than do what everyone was expecting and churn out yet another DS-engine (which was based on the OG DQ7 engine!) “remake”, this was a full visual overhaul with 3D cutscene direction, maps for all dungeons, a fragment finder, and symphonic soundtrack. In other words, a remake that addressed virtually every complaint I had with my original DQ7 experience.

Time to briefly return to that original DQ7 experience. How to reflect on my memories of that playthrough? The memories I had when I made that angry post? The memories of making that angry post? The memories I have today? The truth about that experience is that I played DQ7 in the worst possible way you could play it. The game felt boring and repetitive to me in the back half because I marathoned it all at once over the course of a few weeks. The characters felt lifeless to me because I never actually used party chat (and party chat was more limited in the PSX version). The music began to grate on me because I wasn’t listening to dreamy Super Nintendo strings or more crucially, the full symphonic soundtrack I would later associate so strongly with so many of my personal Dragon Quest experiences.

And what about those vignettes I called charmless and dull? Well, even by 2014 I was hedging on that, wondering in message board posts if the visual and sonic revamp with actual cutscene direction would allow these stories to leave more of an impact for me. The ultimate answer to my hypothesis was unequivocally, yes, these stories left more of an impact for me.

I’m never the one you’ll hear arguing against a game giving you friction (my other favorite RPG series is SaGa), but in this case all of the QOL smoothing in the remake, the fragment finder, the previous event summary, the in-game mapping, the tablet consolidation, all of this allows you the space to refocus your attention on the game’s most potent strengths. Rather than leaving you with a sensation of oppressively aimless retreading and a feeling of being lost (and not feeling lost in the good way, like many of my favorites in my other other favorite RPG series, which is the one this tumblr was supposed to be exclusively about) the smoothness of play lets you see the slowly unspooling world (love a psx rpg with a slowly unspooling world!!) not as a constellation of chores but for what it truly is.

That true and modest spirit of Dragon Quest, these warmly human fables that are meant to linger with you, that one line buried in party chat that is meant to devastate you, a nested series of stories that build and connect over time until you’re left marvelling at the genius of the construction. When I made that post in the past, I didn’t have any memories of the story of the noble priest of Vogograd and the truth that is left to a future generation of children to build. Is it 20 years of age and experience and memories that allowed for me to find that story so moving? Or was it the space the smoothing in this remake left for me to better understand the meaning of this game?

I bought the DQ7 remake at launch five years after making that post, and I started and finished the DQ7 remake 5 years after buying it, which is, again, 20 years after I first finished it. How much time has to pass before you revisit the first Dragon Quest you ever finished, playing through the game you thought you hated, but maybe always suspected you could love? When do you allow yourself to return to old memories and then make new ones?

Time hasn’t erased every one of DQ7’s problems, there is still some dungeon padding and some repetition, and there are also new problems with occasional localization issues and symbol encounter issues. But as with any game, you form memories of flaws and memories of strengths, and if you watch the credits and listen to the symphonic credits theme and search your heart and the memories of the flaws already seem distant, then you know you’ve just played a game that is a great. Dragon Quest 7 is a great game and a great Dragon Quest. You know you truly a cherish a series when you are willing to wait until it is the perfect time to play, and time after time, whether for DQ3, or DQ5, or DQ11, DQ is the series I cherish enough to wait for. 20 years after finishing was the time I needed to revisit DQ7, and closing this loop is the perfect gift I could give to myself.

In conclusion, Square Enix please announce HD 2D DQ4 ASAP for me thank you.

#dragon quest #dragon quest 7 #meandering retrospectives #dq4life

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fantasyinvader · 5 years ago

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So, with Hapi’s support with Dimitri I think I can finally piece together what really went on with the Insurrection and Duscur. I’ll try not to sound like MatPat here, but if you start hearing his voice reading this let me know. Maybe I can send him a script or something. Long-ass post incoming

Let’s start this off with the ascension of Emperor Ionius. As per Edelgard’s Goddess Tower event, a few years after graduating the Officer’s Acedemy he returned to the monastery, met Anselma, they fell in love and Edelgard was born shortly thereafter in the year 1162. However, Anselma was just one consort among many who produced children, and not the politically motivated main wife. This marriage ended up raising House Arundel to prominence within the Empire.

Of course, this comes into conflict with the setting. It’s established early on that an Imperial Heir hasn’t attended Garreg Mach in generations, while Edelgard’s story implies her father is quite young. So he couldn’t have been there. Likewise, the only mention of Ionius being married is to Anselma. There is nothing on the politically motivated main wife, other consorts, or even Edelgard’s siblings minus a mention by Hubert. There is very little to collaborate Edelgard’s story here, let alone that her father loved Anselma above all else.

So what we can verify is that Anselma became one of Ionius’s consorts, an act that raised her family’s social standing, and then gave birth to Edelgard. Going by Ferdinand and Lysithea’s paralogue, during the early years of his rule Ionius tried to centralize power and authority within the Empire on himself. House Martritz was abolished in 1157 when it’s leader died despite his wife being pregnent. Ionius’s policies caused House Hymr to attempt to defect to the Leicester Alliance in 1167 with the help of House Ordelia. This resulted in the Hymr family being essentially wiped out by Ionius, House Ordelia being put under Imperial supervision, Duke Aegir governing Hymr’s former lands. Those placed to supervise Ordelia were members of TWSITD, who experimented on the children leaving most of them dead along with Lysithea obtaining two Crests and a shorter lifespan.

This also caused unrest within the empire’s nobility, and in 1171 six families staged an insurrection against Ionius. Volkhard von Arundel was among them, alongside the head of House Vestra. House Vestra is the Empire’s black ops, doing things in the shadows to keep the good image of the Imperial family. While Hubert believes his father acted out of greed, his support with Hanneman hints he may have been trying to protect Hubert from something. Given that lord Vestra is the one who told Hubert to always look after Edelgard, but then joined the Insurrection, it seems like an odd switch. But if Vestra had found out something in one of his black ops missions, something that put his son in danger, it could cause him to switch sides. Like, I dunno, TWSITD and their experiments in the Ordelia region?

Arundel flees to the Kingdom with his niece, keeping her identity and location a secret less people in the empire find out. Around the same time, Anselma is led there as well by her old friend Cornelia. Except at this point, Cornelia was replaced by TWSITD. She takes the name Patricia, meets King Lambert, marries him, but is never given time alone with him due to Cornelia’s interference. Her status is something of a secret within the Kingdom, and she is unaware of Edelgard being there as well.

Hapi was captured by Cornelia at some point and experimented on. Patricia found out and opposed her treatment.

In 1174, the Insurrection ended with Ionius beaten. Arundel, who had been a pious man up until this point, stopped donating to the Church and returned to the empire with Edelgard in tow. There, she was handed over to TWSITD to be experimented on. It’s safe to assume that 1174 was when Arundel was found in the Kingdom and replaced by Thales.

We know the experiments happened because Edelgard not only bears a second Crest, the long extinct Crest of Flames, but also because her conversation with Arundel as the Flame Emperor confirms they did acts in Enbar that they would be punished for. The existence of the siblings is still a little wonky though. Edelgard does say that her sisters called her El, but we also know that Dimitri calls her that and looked like a girl as a child (per his support with Catherine). For all we know, Dimitri may have been the “sister” she was talking about and she took parts of Lysithea’s story to embellish her own tale.

Edelgard’s claims that the nobility put her under the knife were attempting to make a strong emperor to rule over Fodlan. Now she kinda takes advantage of the fact Byleth somehow knows less than Sargent Schultz and never brings up how her father tried to consolidate power, but even without that it still doesn’t make sense. Why would greedy nobles who were fighting off the emperor’s attempt at taking away their power try to create a super-emperor to rule over not just them but the entire continent? And with Constance (who reflects the Crimson Flower route) blaming Ionius for what happened to her family while only being mad at Aegir for not helping her family in their time of need following the war with Dagda a year after the Insurrection, something seems up.

My best guess is that Constance’s remarks hint that it wasn’t Duke Aegir, who Lysithea said was a bad man but not a monster, that ordered the experiments. It was Ionius. His actions prior to the Insurrection were him preparing to launch his own war with the help of TWSITD. He wanted to be the strong emperor to rule over Fodlan, and the experiments on House Ordelia were originally for meant to power him up when the time came. It would explain how he looks like so old and weak despite being roughly in his 40’s. Those experiments failed on him, leaving him weakened, but he did them to Edelgard, who believed the war took it’s toll on him. Vestra found out about this and joined the Insurrection to help prevent a continental war‌ that could endanger his family (would also explain House Gerth’s involvement, since they are the family who roll diplomacy with other nations). But that’s just a theory (a game theory…I’m not done yet).

Sometime after Edelgard left the Kingdom, Patricia found out that she was there from Cornelia. Cornelia manipulated Patricia into blaming Lamber and, wanting to reunite with her daughter, to help conspire his death at Duscur. In 1176, Lambert is killed while visiting the neighbouring country. Patricia’s carriage is not targeted, but she goes missing and is never seen or heard from again. Likely, she is dead and her involvement was meant to cast suspicion that the whole thing was engineered by the empire. Not helping matters is TWSITD claiming they performed Duscur for Edelgard. Considering that the aftermath of the Tragedy saw the Kingdom destabilized with a weak regent, and a growing number of bandits‌ (with dark mages in their ranks), it really just seems like TWSITD wants as many people as possible to die in their mission to wipe out the dragons.

The fact Emile killed his family in 1176 and was found afterwards by Edelgard kinda blurs the line over Edelgard not being involved with TWSITD. After all, she was somehow able to get him appointed as the heir of House Hymr. It doesn’t make sense why the nobility would be fine with the heir to the throne making someone a lord, so Arundel/Thales may have been involved. We do know that she helped turned Emile into Jeritza/Death Knight with help from TWSITD (his armaments and his use of dark magic), that Monica was abducted a year prior to the start of the game and Tomas came back to the monastery the same year after retiring to Ordelia territory. So, Edelgard was involved with TWSITD sometime before the prologue happens and maybe even as far back as the events of Duscur. TWSITD are trying to manipulate her into attacking their targets for them but Edelgard has her own goals. She wants to be the strong emperor of Fodlan she was made to be, and she does manage to manipulate TWSITD to this goal.

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lassieposting · 5 years ago

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I adore your thoughts about deamon culture and upbringing. Something that’s always bugged me is that we don’t really get an insight into the culture and layout of heaven and hell or the non-humanness that makes angles and deamons. Please give more thoughts!!!

OH BOY, DO I

DEMON CULTURE HEADCANONS COMING RIGHT UP

[1] My personal headcanon is that devil was originally a Lilim word that basically meant “warlord” - the leader of a clan with his or her own territory - and there were thousands of them, because demons lived in warring clans. Every clan had a _devil, _and they all considered themselves the ultimate authority and were constantly fighting for power. When Lucifer staged a coup and took over one of the strongest clans in the Ninth Circle, he basically went on a conquering spree, up to the point that there is now only one devil; all the other clan leaders have bent the knee to him. There’s probably either a Lilim way of distinguishing between A Devil (a warlord) and The Devil (Lucifer, King of Hell), or it’s become sort of an archaic term used only to refer to Lucifer and another name has become commonplace for your bog-standard warlord. The word then made its way to Earth both through Lucifer himself and through other demons before he outlawed possession, and developed its modern meaning from there.

More under the cut - this is long as fuck. It’s becoming a habit.

GENETICS:

- Demons live in one of the most inhospitable, treacherous environments of any dimension in the known multiverse. They’ve been shaped by the need to survive in their habitat.

- Demons in general have a much higher heat resistance than humans, as well as far better low-light vision and enhanced speed, strength and endurance.

- Hell has different habitats the same way Earth does, though, and the demons who live in the Ninth Circle (the part of Hell we see in the show, the part where Lucifer’s palace is) would have different adaptations to the demons who’ve evolved to live in the swampy marshland of the Sixth Circle (where Maze was born).

- Demons are an R-coded species, so they have large numbers of babies, less parental care, a short gestation period and a very low survival-to-adulthood rate.

- Because their babies have such a low survival rate, demons have very little parental attachment and they don’t form family units the way humans do (i.e. child raised by biologically related caregivers, close relationship between parents and child).

CHILDHOOD:

- Baby demons are born already equipped with fantastic low-light vision, a full set of needle-sharp teeth, and the ability to get up and move around very shortly after birth. They’re not wholly independent - they don’t learn to talk or develop fine motor/dexterity skills until they’re older - but they are very much born armed and dangerous, which they need to be because…

- They can and do eat their siblings in the nest, like sharks. Cannibalism is fucking rife in Hell. A large chunk of spawn are lost in their first year to fratricide/sororicide. It’s just seen as weeding out the weaklings.

- In most clans, the spawn are raised communally in a creche run by designated nest-minders; these are usually the weakest members of the clan who would not be any use as warriors. Raising the young during their first few years of life is a fairly low-status position in society, but it does ensure that those weak demons will be fed, housed and protected - nobody wants to have to take over their job, so it’s worthwhile to keep them alive.

- Demon spawn are…little demons. A large part of why Lucifer doesn’t like children is because of extended exposure to spawn. They completely lack empathy and social skills, so they’re loud, they bite, and a large chunk of nest-minders’ time is spent separating them when they try to kill each other. They won’t develop logic, critical thinking or their (still limited) sense of empathy until they’re a lot older.

- Contrary to what some might believe, demons do have affectionate nicknames for their young - the sort of thing a warrior might call his trainee, or a nest-minder might call their favourite charge. The English equivalent would probably be kiddo or something, but they’d translate literally as “spawn” or “offspring”. There’s a sort of implication there that you care enough about this kid to see them as family; they can probably rely on you to protect them if they’re in danger.

ADOLESCENCE:

- Demons don’t have a long childhood, and mostly they learn a trade by apprenticing under a professional. A would-be warrior is trained by an experienced warrior; a kid with a talent for art might apprentice under a leathercrafter; if you’re particularly intelligent and politically savvy you might get lucky and learn from your clan’s devil, if you manage to impress them.

- A juvenile who wants to be a warrior (like Maze, for example) goes through a series of incredibly dangerous trials to become a fully-fledged adult warrior of their clan. It’s sort of like living in the Hunger Games, but, you know. Permanently.

* Around the onset of puberty, at around 10 or 11 years old, they’re given a simple weapon and some supplies and sent out into the world by themselves to find something useful to bring back to their clan, to prove that they’re worth the time and effort it will take to train them.

At this point, they have no formal training. They’ve got a decade or so of viciously scrapping with other youngsters in the creche for food, but they’re expected to get by mostly on their wits, their viciousness, and their willingness to kill to survive.

There are hundreds of things that can kill a young demon alone in Hell. Demons from other clans. Heat exhaustion. Feral hellhounds. Dehydration. Volcanic eruption. Manticore. Harpy. Dragon. There’s even a chance another kid from their own clan will panic and kill first, ask questions later.

What they bring back can be any of a number of things. Maybe some priceless gemstones that can be traded for commodities not native to their area of Hell. Maybe information about a territory ripe for overtaking. Maybe spoils taken from dead enemies from a clan yours is at war with. Whatever it is, it needs to be something the leaders of your clan will benefit from, or they might send you back out to find something better. Maze brought back Lucifer.

How impressive your gift is generally determines who you apprentice under; the kids who brought back the most impressive things will usually get sent to the clan’s top warriors.

Only 30% or so of the kids sent out into the world will come back. The ones who didn’t clearly wouldn’t have survived training, so it wouldn’t have been worth the effort to train them in the first place.

They’ll spend the next ten years or so (maybe more, maybe less) in training. Their mentor will teach them to fight with a whole load of different weapons, how to hunt, how to torture a captive, how to plan a battle, etc. The ones with leadership potential, training under the clan’s War Chief, also learn - on the DL, because nobody wants to get murdered - how to deal with your devil when they’re being an asshole, and how to bring them round to your way of thinking when their plan for a war clashes with yours.

In bigger clans, at the end of their training, each warrior’s trainees get put in an arena to fight to the death. Of each class, only the last one standing actually becomes a warrior. Despite the immense amount of lives lost in childhood, demons breed so prolifically that plenty survive to adulthood.

ADULTHOOD:

- Adult demons often wear identification marks, usually on their faces, to show whereabouts they’re from, which clan they belong to, and what rank they are if they have one. Some clans (like Maze’s) use face paint, others prefer tattoos, still others use scarification or branding. You don’t get to wear them until you’ve proved yourself, so it’s a great honour for a warrior to finally get their stripes.

- This helps establish social order - who you can and can’t flirt with, who you should and shouldn’t pick on, etc. If you’re a humble furs trader, you really don’t want to start a fight with a visiting devil over a casual insult to your work; you’ll get smoked. But fortunately for you, her face markings tell you who she is, so you keep your mouth shut.

- Demons are promiscuous as fuck and don’t really go in for monogamy. It happens occasionally, but it’s definitely not the social norm. While every demon spawn knows who their mother is, it’s very common to have multiple potential fathers.

- Demons can and do fall in love. They’re not very open about it, and there’s no way to say “I love you” in Lilim. Any demonstration of love is a demonstration of weakness, and in Hell any weakness will be used against you. Long term relationships between demons tend to look a lot like Lucifer and Maze - ride-or-die friends who hang out naked and have each other’s back against outside danger regardless of the issues they’re having with each other.

OLD AGE:

- A demon who’s too old to battle anymore but was once a mighty warrior can still command a huge amount of respect; many become advisors to the clan devil - especially if he’s young; Lucifer had to lean on very experienced older advisors as a young king consolidating his power - or train the most promising up-and-comers.

- Demons can and do grieve, but it’s usually expressed as a roaring rampage of revenge against whoever killed your ally. If something happened to Maze, for example, Lucifer wouldn’t cry or get sentimental; he’d cause so much carnage they’d be talking about it for millennia. By demon standards that would be the most touching tribute he could give her tbh.

- After someone dies, their clan usually eats them - in a world where the creatures you eat can kill you just as easily as be killed by you, meat is meat and a meal you don’t have to work for is a gift. (This is why Mom asked if humans eat their own when She first came to Earth. Hell was a horrible surprise for both of them for a variety of reasons, and this is definitely one of them.) To humans, this is horrifying; to demons, it’s not even something to bat an eyelid at.

- Devils don’t often get old. They live in a cutthroat world of power games and ambition, and everyone wants their spot. Devils get to the top by being especially cunning or vicious or physically powerful, and once the thing keeping them there starts to run down, they’re often killed and replaced by someone stronger. It’s just as common for your allies to turn on you as your enemies, so you’re watching your back constantly, never truly safe, always reading into every interaction for signs of danger. There’s a reason Lucifer doesn’t trust easy. As an angel he’s stronger than practically all demons, but Hell-forged steel can kill him; all it would take is for him to let his guard down just a little bit too much at the wrong moment.

#1billsookie #lucifer on netflix #lucifer on fox #lucifer in hell #demon culture #DO YALL KNOW HOW MANY FEELINGS I HAVE ABOUT LUCIFER + DEMON CULTURE #SO MANY #THANK U FOR ASKING IM DELIGHTED U ENJOY MY IDEAS #ALKDFHSLDKFHDLKFH #shoutout to everyone who notices the stepdevil reference #lucifer headcanons

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orangeflavoryawp · 5 years ago

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Jonsa - “A Violence Done Most Kindly”, Part 1

Alright, it’s here. I’m fucking doing it. This is my Jonsa tour de force, my magnum opus. My ultimate fix-it fic.

This is going to be a Season 7/8 AU. To summarize the major plot points up until now, this 'verse branches out roughly post Battle of the Bastards in canon, the mass murder of the Freys by Arya still stands, Cersei has been killed but her murderer hasn't been determined yet, Daenerys has only just landed in Westeros, the occupation/battle over Riverrun never happened as the Freys were slaughtered beforehand, and both Edmure and Brynden Tully are still alive, Bran found his way to Winterfell while Jon and Sansa dealt with ruling the North and preparing for a war with the dead, as well as the shifting power dynamics in Westeros now that Cersei has died. This story also assumes established Jonsa. Soft E. Dark. Politics and magic and murder and sex. That's essentially the gist of it.

I HIGHLY recommend that you read 'Bruises' before getting into this. It serves as a prequel of sorts, and it's only a one-shot so it reads pretty quickly. 'Bruises' really helps to set up the tone of where Jonsa is at the start of this fic.

“A Violence Done Most Kindly”

Chapter One: Hunger

"There is an old sort of magic to sacrifice, after all." - Jon and Sansa. Stark is a house of many winters.

Read it on Ao3 here.

Part 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 fin

* * *

It would be a lie to say that Sansa understands Cersei now – here at the end.

Here where she warms her brother’s bed.

Sansa imagines Cersei looked at Ser Jamie like this once, watching him in his sleep beside her. Or perhaps not. Perhaps theirs was always a quick, furtive fuck. A blinding instant of lust and need, smothered in dark alcoves and behind garish tapestries, a secret, silent thing – clawing at them from the inside.

Perhaps they’ve never slept the night through beside each other.

Perhaps she regretted it – gurgling out his name while she choked on her own blood.

Sansa reaches up to trace a hand down the side of Jon’s face, trailing past his jaw, along the cords of muscle flexing in his throat beneath her touch, whispering down his chest as he groans to wakefulness. She slips her hand to his growing hardness with a surety that might have been foreign to the little dove Cersei once knew.

But then, maybe that is also a lie.

“Sansa,” he groans, head thrown back along the pillow, voice rough with sleep and desire.

She braces her lips to his neck, imagines the rush of blood just beneath her mouth – pulls him from slumber with a selfish, desperate yearning she does not regret. “I need you,” she breathes into his skin, teeth sinking down.

Jon growls his answer, grabbing her by the hair, yanking her head back and kissing her hungrily. He turns her easily, bracing her back along the bed as he covers her with his weight, already hard and ready in her hand.

Some small part of her wishes Cersei had been her kill. A different, equally intense part of her, is relieved beyond words that she isn’t – that she would never be, now.

But more than that – more than a vengeful wrath she’s spent too long feeding to ever be free of hunger, to ever be satisfied with a mere raven scroll and the somber, even way Bran announces the news – more than that –

She just needs Jon.

“Come back to me,” she whispers against his mouth, moving with him in the dark.

No, she doesn’t think she’ll ever understand Cersei.

But as she feels Jon slip inside her, as she cradles his groan in the hollow of her throat, as she catches her lips at his temple – she thinks she doesn’t need to.

It’s a different hunger she feeds now, after all.

* * *

Sansa recognizes the sound of Baelish’s footsteps well before he’s made it to her side. He slinks like shadow easily enough across stone and wood and dirt, but here in the godswood, trudging through snow in the womb of winter, his steps are almost awkward, clunky.

He does not belong here. She knows this now with a certainty she hasn’t felt in years.

“My lady, I had hoped to find you here.”

Sansa only sighs, glancing away from the red weirwood leaves to meet his gaze over her shoulder. She offers a silent nod in greeting.

Baelish makes his way toward her, smoothing his hands over his robe when he settles beside her. “You have not forgotten what we spoke of when last I found you here, I should hope.”

Sansa tugs her furs tighter around her shoulders, eyes drifting back to the weirwood branches. “How could one forget?”

“Yes,” he murmurs, eyes drifting down her face and trailing the length of her throat.

She tries not to swallow, not to give notice of her discomfort. He takes a step closer. She resolutely does not take one back.

“This is a very crucial time for us, Sansa, you must know that.”

“Cersei is dead,” she says in answer, and she thinks maybe it should feel different along her tongue. Lighter, perhaps. Sweeter. Instead, it’s nothing but a stringent tartness.

“Yes, and by whose hand? None of my people seem to know the answer to that, except for whispers of faceless girls. Dead end gossip.” He looks at her out of the corner of his eye, appraising.

Sansa gives him nothing to appraise. “Is that what matters right now?”

He stays quiet a moment, and then, “It is, until we can ascertain whose side her murderer is on.”

Another silence. Sansa stretches a gloved hand out to catch the faint flecks of snow falling from the branches.

“We can’t let this opportunity pass us by. Cersei’s death has lead to infighting amongst the houses. King’s Landing is in near shambles with no discernible sovereign. Qyburn has fled without the support of his queen. The Mountain hasn’t been seen since reports of Cersei’s death. Citizens are fleeing to the other kingdoms as we speak, and even Daenerys Targaryen has seen the uselessness in conquering King’s Landing at this point.”

She knows this. She knows this already and she’s tired of hearing it. It only ever ends one way.

Baelish reaches for her, grasping her arms and turning her to face him, his gentleness forced and rushed – a falsity. Sansa blinks up at him.

“We have to consolidate power. If we wait too long, this chaos will be of no help to us.”

“Then go.”

Baelish furrows his brow at her answer, his fingers flexing along her elbows.

She swallows tightly, face a blank visage. “Go to King’s Landing then. Consolidate.” She lifts her chin. “Go.”

His throat flexes, poison tongue pressing back behind pursed lips.

“You can’t, can you?” she asks, not unkindly. “Because your power lies here. With me. And with the Vale. You can’t abandon either of us without giving yourself a disadvantage.”

“Sansa.” It’s almost a warning. As much a warning as Baelish ever gives – all smooth tones and invaded intimacy. His head inclines toward hers.

“Jon won’t go South. Not for that.” She extracts herself from his hold slowly, gently, without offense.

Baelish smacks his lips, a minute flicker of irritation crossing his eyes, but it’s all he will allow her to see of his disturbance. “The King can be persuaded.”

“Not in this. The dead occupy him on all sides. He won’t play the game.”

“Not even for you?”

Sansa doesn’t think too long on the way his eyes flick to her lips for a fraction of a second. “You overestimate my influence.”

“Oh, I think not,” he says lowly, a curl to his lip that reminds her of purple-faced boy-kings and hound-fed bastards.

No, he does not belong here. Not in the white and cold and wind of home. Not here where her mother used to brush her hair and her father used to beg her hand to dance and her brothers played their knightly parts in her tales dutifully. Not here where she had wanted to bury Lady those many years ago.

Wanted, and never could.

Sansa realizes suddenly, that Winterfell is not yet free.

And neither is she.

* * *

In the wake of Cersei’s death, the ensuing vacuum of power nearly cripples the kingdoms, with the remainder of the Lannister forces rallying behind a mourning, vengeful Ser Jaime, intent on securing the Reach and the Stormlands. Dorne wastes no time to declare its independence from the Seven Kingdoms entirely, and shortly after the suspicious slaughter of the Freys by unseen Northern hands both the Riverlands and the Vale swear to the North under the threat of a coming dragon queen.

Jon has no time for such politics.

Sansa rails against him openly in the Hall of Lords, demanding his attention to the ensuing fight for the crown, but the dead take precedence in everything he brings to court, and it’s not long before ravens are sent to all corners of Westeros begging aid in the coming fight.

Bran watches placidly, neither arguing for or against either of them. Sansa would call him not unlike a piece of furniture if she hadn’t better manners, and most days her pleads for his council lands on deaf ears. She ends most gatherings of the lords rife with frustration and nearly frothing at the mouth.

She doesn’t need to glance at Baelish to know the look he gives her.

“You think just because Cersei is dead that we are free from the South? That they will not land their hooks into every inch of the North until we are chained to them once more?” Sansa seethes, shutting her door once Jon is through it.

Jon heaves an unsteady breath, fingers pinching the bridge of his nose. “That’s not what I think, and you know it,” he grits out, sending a dark look her way. “Stop twisting my words.”

“Then stop ignoring mine.”

“I’m not!” He stalks toward her, stops before he can do anything else. His hands itch at his sides. “Sansa, we can’t keep this up – this back-and-forth. We can’t afford such a divide, not now.”

Sansa takes a purposeful breath, hands folding before her. “I’m with you, Jon, I am but – ”

“Are you? Sometimes I wonder.” He can’t help the scoff that leaves him. He stares at her, keeps her gaze a moment longer, and then he’s turning to the far window, a hand raking over his face. He’s just so tired, suddenly.

Sansa is deadly still. So still he can’t even hear the rustle of her skirts on the cold stone at their feet – can’t pick up the scrape of air she pulls through anger-fused lungs.

“And how is your show of the dead going with the other kingdoms, hmm?” she bites out.

Jon snaps his head to her, his eyes narrowing so quickly she might have missed it.

Sansa takes a step toward him. “Are they simply jumping to aid us? Are they gathering the entire might of their forces, marching the sum of their armies North, all on your word?” Something sharp glints in her gaze and Jon swallows his reply back instantly. She scoffs, head thrown back. And then her eyes are eerily blue on his – instantly staggering him. “And have I ever demanded evidence? Have I ever once denounced your claims of the rising dead before the lords?”

Jon has no answer. None that would satisfy, at least.

Something in her softens at his silence, another step taken toward him. “I’ve never asked you to prove anything to me, Jon.”

Jon, she calls him – always.

(There was never anything to prove between them, after all.)

Jon closes his eyes, takes a long, deep breath, exhales just as evenly. When he opens his eyes, she’s still there. Still copper-crowned and winter-poised. Still every inch his sister.

And every inch not.

He thinks maybe it’s a sickness – this craving of his.

Jon steps into her, the stiff silence descending upon them like a cloak. He’s so close. He’s so unbearably close, and even though he has yet to touch her, the heat suffuses him – a stifled winter, a burrowing need.

He can see the way her chest heaves at the sudden proximity.

(She’s always been his, even when she won’t admit to it.)

Jon thrums a tentative hand along her side, fingers grazing the line of her hip.

Her tongue darts out to wet her lips.

It’s a lost cause, he knows. Since the moment she opened her door to him, this was only ever going to end one way.

“I know you’re with me,” he tells her on an exhale, roiled in heat.

She arches a single, fine brow. “Do you? Sometimes I wonder.” She almost smacks her lips with self-satisfaction.

A low snarl eases from his lips, his hand bunching in her dress, dragging her to him. She lets him, hands alighting on his chest. He leans into her, nuzzling his temple to hers, breath ragged already.

She makes it so easy.

He’s already panting for her.

(She makes it so hard.)

“Sansa,” he groans out, fingers trembling as they reach for her laces.

She takes his face in her hands, pulls him back until his eyes are locked with hers. He doesn’t still his unlacing of her. He couldn’t even if he tried.

So unbearably close.

(He just needs to touch her.)

“You lose one war, you lose them all,” she tells him, arching against him.

She’s right, he knows. She’s right, and yet –

She comes undone so easily in his hands – they need to stop ending their arguments this way.

Because this – the splendid way she hisses beneath his tongue and the subtle way she arches into his hands and the ragged pant of his name (his name) along her bruising lips – is a war they can’t afford to lose.

(This is a war they haven’t even begun to fight, not truly – not by the light of day.)

“I’m with you,” she whispers against his mouth, and he knows.

He knows, he knows, he knows.

And even still –

Some wars aren’t about who’s right. They’re only about who’s left.

* * *

Arya returns to Winterfell in the dead of night. Ghost clambers to wakefulness at the foot of Jon’s bed, the sharp rap on his door jolting him from sleep.

It’s Davos at his door. “In the hall, Your Grace,” he says, and nothing more.

Jon rushes from the room, following his Hand and the faint shadows Davos’ torch casts along the walls. When he turns the next corridor, he sees Sansa emerging from her own chambers, Brienne at her side. Her sworn shield tugs the fallen slip of Sansa’s robe over her lady’s bared shoulder at Jon’s presence, and the motion does not go unnoticed.

“What is it?” Sansa hisses in the night.

He shakes his head, throat parched.

It happens moments later.

It happens when they breach the shadowed hall. It happens when Arya turns from her appraisal of the room, eyes a slate grey that should be comforting, familiar – but are only haunting. She is perfectly still in the filtering moonlight through the tall windows. She is perfectly winter-poised (an eerie reflection of the sister beside him, and distantly, he wonders if either of them knew they’d ever grow to be thus).

It’s a crack, a fissure – a lung-scraping quake that sunders through the silent hall.

Ghost is the first to break the stillness, trotting up to Arya with an ease that staggers Jon’s heart in his chest. But Arya smiles – smiles – and it’s a faint curl of her lips, before she’s bending like reeds in the wind, reaching for the direwolf’s great maw and threading her fingers through his thick fur, hands gliding over Ghost’s face and ears and neck. Something of sorrow and fondness sweeps over her face then. “Hey, boy. You’ve been keeping watch for me?”

Jon is breaking toward her then, something splintering inside him he hasn’t a name for, and then she’s in his arms, and he’s lifting her up, up, and up, her feet off the ground, her arms around his neck, his broken gasp of her name smothered in her hair, and he’s trembling, absolutely shaking against her, absolutely shattered – here, to be here – with his little sister in his arms. He holds her for an immeasurable amount of time, for eons and epochs and yet he’d hold her still, if only he could. It never seems enough.

Jon dips her back to the floor, breathless, glancing back at Sansa, and he stills suddenly at the way she stares at them.

Arya keeps a hand at Jon’s elbow, her smile receding. A soft, keen quiet overtakes her. Her eyes shine with tears. “Hello, Sansa.”

Sansa takes a step, hand outreaching, and then stops herself. She takes a sudden breath, and Jon is too overcome to think much of it, so he braces a hand at the small of Sansa’s back, urging her toward their sister.

He doesn’t catch the way Arya’s eyes trail the intimate motion of his hand.

“Arya.” Sansa’s voice catches, and then she’s stumbling into her, arms wide, drawing her little sister to her chest.

Arya’s eyes shutter closed for a moment, breathing something of relief against Sansa’s breast, her hands fisting in her robe at her back, but then she’s blinking those grey, haunting eyes open to Jon.

He feels cracked open. Bloody and bare. Jon swallows the trepidation back.

Their sister is returned.

His hand burns beneath the memory of Sansa’s heat at his fingertips.

* * *

Arya knows.

She knows, Sansa thinks when she catches the derision in her little sister’s eyes from across the courtyard. Somehow, she knows.

Sansa steps purposely away from Jon as they walk together below the ramparts.

He furrows his brows at the motion, a hand going to her elbow. “Sansa,” he begins.

She huffs her frustration, staying his hand.

He’s always been terrible at pretenses.

“Our sister is watching,” she mutters beneath her breath pointedly, and she can see the way his spine straightens, the way his shoulders stiffen.

She is Sansa Stark. And he is Jon Snow. And not for the first time has she lamented this – though perhaps not so much as now.

Now when he is close enough to touch and yet the chasm widens ever farther.

This chasm called honor.

(But there is nothing honorable about the ways in which he touches her in the dark of night.)

Jon is silent for long moments, before he comes to an abrupt halt at the edge of the courtyard. Sansa turns to find him staring at his boots, brows furrowed. He heaves a sigh, a calloused hand wiping down his face, and then he’s turning swiftly, walking back the way they came. Sansa watches him go, something constricting in her chest not unlike grief. She looks back across the courtyard to see Arya still watching her. Her jaw locks, her barred teeth caught behind perfectly poised lips.

There are some things Arya will never know, she reminds herself.

She will never know the way Jon’s eyes grow dark by candlelight, or the way his throat flexes beneath the press of her tongue, or the tremble that racks through him when she slips to her knees at the edge of his bed, bracketed by his thighs.

And perhaps there is something secret and selfish still living in her. Perhaps there is a part of her that revels in the knowledge that while she may not be the favorite sister, she is the only sister who can drag such whines from his throat, who can reduce him to pleading, who can have him panting and desperate as he throws his head back, hand curling in her copper tresses as he pushes her mouth down on his length, hips thrusting shallowing up to meet her.

No, Sansa reminds herself. Arya will never know the dark visage of Jon when the last of his control snaps, when he’s pouring filth from his mouth too base even for brothels, when he’s rutting into her mouth like something feral, spilling hot and frenzied down her throat as he growls her name through clenched teeth, over and over and over again.

No. Arya will never know the way he looks at her in the aftermath, the way he curls a quaking hand along the curve of her jaw, thumb brushing over her mouth in something perhaps too feverish to be called tender, but just as searing.

She thinks this when she departs from the courtyard.

She thinks this when she feels Arya’s gaze following along her back.

She thinks this when she closes the latch behind her to Jon’s door that night.

* * *

“You’re our brother,” Arya says like a demand. “You’re her brother.” It comes out slightly searing this time.

Jon grips at the mantle over the hearth, his back to her. “I still am.”

“How could you be?” Her scoff is lined with something faintly like disgust.

Jon closes his eyes at the sound. He draws a deep breath in, lets it to air.

Arya shifts somewhere behind him. “Robb would never have touched her so.”

“Aye, and Robb isn’t the brother she begs for at night, is he?” he spits just as harshly, whirling on her. He realizes what he says a moment before he catches the look that passes over her face.

It’s not a look she’s ever directed at him before.

Jon swallows thickly, the words dying in his throat.

Arya looks away, lips pursed tight. She’s so utterly still. This whole while, her entire time at Winterfell, she’s been nothing but stillness.

Jon wants to shake her suddenly, just to know she’s still there. Just to know he isn’t the only one missing what they used to be.

He has to tear his gaze from her – has to focus on the lick of flames in the hearth, the flare of copper too familiar to cool this rancid heat in him. “But I’m not Robb, am I?” he whispers, almost like regret, almost like penitence.

(Almost, but not quite.)

“No,” Arya answers, so low he might have imagined it. “No, you’re not.”

He isn’t sure what it is he hears in her voice, and he doesn’t have the heart to turn to her then, to see for himself, to know the damning censure of her gaze, even when her voice is indiscernible.

She leaves him then, the heavy door of his solar sliding shut with a nauseating finality.

She doesn’t even leave a shadow.

(But he thinks he should have expected this. He thinks he should have expected a lot of things.)

* * *

Jon has known the permanence of betrayal, the way it sinks into your marrow until you are rife with it, until the sharp tang of it has festered long and sour beneath your tongue, until it is behind every look over the shoulder and every false greeting.

Jon sneaks a glance at Sansa beside him, catches the upturn of her chin while she listens to Lord Glover in the Hall of Lords, the resolute crispness of her blue gaze as she sits regally at the head table.

His hand strays to the ends of her furs hanging over the arm rest. He catches the material between his thumb and forefinger, a small comfort. An anchor in the storm.

He glances back out across the hall. All eyes are on Sansa. All but a lone, accusing pair.

Jon catches Arya’s glare from across the hall, nearly missing her lithe frame amidst the shrouding shadows of the Stark banners. The flicker of torchlight is not enough to obscure her frown.

His hand slips from the edge of Sansa’s furs beneath the table, his throat dry with an apprehension he’s never felt before.

They sit staring at each other for long moments – everything and nothing passing between them – the lords airing their complaints and their needs like a fog around him.

“Do you agree, Your Grace?”

Sansa’s voice comes to him like a gale.

Jon snaps his gaze to her, blinking rapidly.

He suddenly remembers.

He remembers that Sansa has seen the evidence of betrayal marring his skin. She’s seen the gashes along his chest and not withheld her touch. She’s smothered his sobs of recollection to her breast when he’s recounted the nooses – the way their feet swayed in the wind like a condemnation.

Sansa has never been party to his betrayal.

Sansa will never be his betrayal.

His fingers search for the ends of her furs once more, gripping tightly beneath the cover of the table – no longer an anchor, but the thing that drowns him.

“Aye,” he agrees, never needing to know what he agrees to.

Sansa eyes him with something of sharpness.

Jon looks back across the hall. Arya is gone.

He does not relinquish his hold.

* * *

{“Why did you bring her here?”

Bran looks up at Sansa’s question. It is a face she used to know once – but not anymore. She holds tight to this image of her brother like sand sifting through her fingers. She wonders if it is not perhaps easier to simply let him fall.

She looks away finally, her hands gripping at her skirts.

The hearth spits another log to cinders before them, and she thinks he means to keep this damn silence always, until, “Because she is needed.”}

#jonsa #jon snow #sansa stark #jon x sansa #jon and sansa #arya stark #bran stark #starklings #house stark #game of thrones #got fanfic #my writing #a violence done most kindly

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mediaeval-muse · 5 years ago

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Video Game Review: Assassin’s Creed Brotherhood (Ubisoft, 2010)

Genres: action-adventure, third person, open world

Premise: Picking up where Assassin’s Creed II left off, Ezio Auditore is back, this time working against the Borgia family to destabilize its hold on Rome. In the present day, Desmond Miles continues to struggle when differentiating the past from the present.

Platform Played On: PC (Windows)

Rating: 4.5/5 stars

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

I am evaluating this game based on four key aspects: story, characters, gameplay, and visuals. I will not be evaluating the multiplayer mode because I don’t like playing video games with other people.

Content Warnings: violence, blood, misogyny, attempted rape, incest, torture

Story: The main premise of Brotherhood’s story is that following the opening of the vault, Ezio and his family are attacked at Monteriggioni by Borgia forces. They manage to escape, but Ezio is wounded and Caesar Borgia steals the Piece of Eden. Ezio awakes some time later in Rome and must fight the corruption that results from the Borgia’s influence while hatching a plan for retrieving the Piece of Eden. The decision to focus more fully on the Borgias was a good choice - they’re perhaps the most notorious family from Renaissance Italy, so the plot about combating Templar corruption fit right in. Plus, it made for a more consolidated narrative and a single antagonist.

I also think Brotherhood improved on Desmond’s story. At first, it’s not much different from the main purpose of the frame narrative in ACII: Desmond and the present-day Assassins, led by Lucy Stillman, set up a new safe house in modern Monteriggioni, where they continue to use the Animus to track down the Piece of Eden using Ezio’s memories. But there are some nice moments that make the frame shine: Desmond and Lucy have to work together to explore the underground tunnels of Monteriggioni, and their banter really game me the sense that they were bonding.

The main things I didn’t like about these narratives are relatively small. In addition to the ending feeling rushed, I think the game could have done better regarding its female characters. In Ezio’s world, a side mission reveals what happened to Cristina, Ezio’s sometime lover before he became an assassin. On the one hand, it was great to see a more personal plotline that delved deeper into Ezio’s emotions. On the other hand, these flashbacks had moments that made me squirm. The plot details how they met, which basically consists of Ezio following Cristina home and saving her from being raped by an acquaintance that “refuses to wait for her to open her legs on her own.” Later, Cristina is killed and dies in Ezio’s arms. Likewise, Lucy meets a tragic fate in Desmond’s world, and though it’s less fridge-y than Cristina’s death, I was just personally not a fan.

Characters: Ezio, our protagonist and player-controlled character, is as charming as ever. He’s a little older and wiser in this game, which was pleasing in terms of character development. He’s still a bit of a flirt and womanizer, which I personally don’t really like, but to each their own. Leonardo is also back, albeit more sporadically, and I loved seeing their friendship continue.

The major supporting character in this game is Niccolo Machiavelli (yes, really). He appeared briefly in the previous game, but he has a much larger role this time around. He’s a bit grumpy and stuffy, which is understandable - Ezio allowed Rodrigo to live at the end of ACII, which threw a wrench in a lot of plans. Still, I liked how Ezio’s more playful characteristics played off of Machiavelli’s sternness.

Desmond also continued to grow on me. I liked that he had more confidence in his assassin abilities and how he seemed to be fully part of Lucy Stillman’s team, and yet, the game did a good job tempering his badassery by decreasing his ability to differentiate the present day from his ancestor’s memories. It’s one of my favorite tropes, though, so I may be a bit biased.

The Borgias were also very compelling villains. I liked Cesare’s intensity and lust for power, as well as Lucrezia’s balance of loneliness and loyalty to her family. I also think their incestuous relationship was handled well in that it wasn’t treated as the sole reason why these characters were evil; rather, to me, it read as a manifestation of the characters’ obsession with their own family, not as something “edgy” to put in the plot.

Gameplay: A lot of the mechanics that formed the basis of ACII reappear in Brotherhood. There are armor and weapon upgrades, treasure stashes, puzzles, and the like. Instead of upgrading the villa, however, players are given the opportunity to make improvements to and stimulate the economy of Rome by repairing and investing in tailors’ shops, blacksmiths’ forges, art merchants’ stalls, banks, stables, medicine stands, aqueducts, and many other things. I found the investment system to be interesting, but a little confusing - it’s dependent on how other players interact with the stores in the game, so I didn’t quite get why it’s included in story mode. I think I could have done without it or at least made it dependent on other factors that are more useful to those who don’t necessarily care what a larger Ubisoft “community” is doing.

In order to unlock all the public works projects, players have to free areas of the map from Borgia influence. To do this, players complete assassination missions in which you kill the captain of the guard responsible for overseeing a Borgia-controlled tower, then you blow it up. These missions vary in difficulty, and each one has a unique setting with different kinds of environmental challenges, so I was pleased by the level of variety.

Players are also given the task of doing “shop quests” in which Ezio collects rare valuables (like ambergris, diamonds, etc.) to unlock additional items in the shops. For example, completing the art shop quest unlocks additional treasure maps. I found this interesting yet irritating, since I wasn’t quite sure how to get these rare items aside from stumbling onto them randomly or investing in businesses smartly (smart investments yield high rewards, sometimes). Along similar lines, Ezio can complete guild challenges, in which he performs various combat or stealth maneuvers as well as assists courtesans, thieves, mercenaries, and assassins to gain additional XP as well as discounts when enlisting any of the guilds to help.

In terms of the combat and stealth aspects, most of the mechanics are the same. You’re given a crossbow in this game, which is fun, as well as a parachute for gliding, but other than that, there’s nothing vastly different. I actually liked the continuity, since it meant I could focus more on the new things and not learn whole new ways of moving around. I will say, though, that the glyphs were a bit more annoying in that I couldn’t use my keyboard to turn things around - I HAD to click on arrows on the screen. It was tedious, but I got through it.

I also liked the introduction of assassin recruits. Players get to recruit citizens to Ezio’s cause and level up their XP by sending them on missions across Europe, kind of like the war table missions in Dragon Age: Inquisition. These recruits can also be called upon during combat to help Ezio fight off enemies, though they need some time to “recharge” after each use. It was kind of fun to manage a team, and I did like the options it afforded for gaining resources and completing missions.

I will say, though, that I absolutely detested the missions or challenges in the game that were timed. Timed activities stress me out, and I’d rather have the option to do something well rather than fast. I also hated the introduction of “complete synchronization.” Basically, each mission is accompanied by a condition - such as avoiding detection, using a specific weapon, or completing a task in a certain amount of time - that will grant players 100% synchronization of Ezio’s memories. If you don’t meet the condition, you can still advance the plot, and you can go back and replay the mission for 100% sync, but honestly, I didn’t find this mechanic fun. Some of these conditions were tedious or so challenging that in order to meet them, you have to play through long scenarios without skipping to certain checkpoints multiple times. For experienced gamers, these conditions might offer some additional challenge to a video game that otherwise doesn’t have easy/moderate/hard modes, but I personally didn’t find the 100% sync rewarding, and I was constantly stressed about missing something due to lack of syncing.

I also had some problems with the camera and controls. In several missions where time was a factor, it was frustrating when the camera would whip around and controls would change to accommodate the new angle. I hated this, because it caused me to fall and desynchronize a few times, as well as cause me to lose my target.

Visuals: As with ACII, the visuals of Brotherhood were stunning. I loved seeing the aerial views of Rome from the high vantage points, and I loved the rendering on Ezio’s assassin armor. I don’t think there was a major, noticeable difference in the quality of the visuals between the games - maybe a few more smooth animations, some more believable/realistic rendering. It was certainly appreciated. I could look at this game for hours.

Recommendations: I would recommend this game if you’re interested in the Italian Renaissance, the history of the Borgia family, stealth, action-adventure games, and parkour.

Final Verdict: Assassin’s Creed Brotherhood is a charming follow-up to Assassin’s Creed II, balancing familiarity and novelty in the gameplay to keep the player both engaged and grounded.

#video game review

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semi-imaginary-place · 5 years ago

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fe3h blogging 2 because the post got too long

Edelgard Claude foiling. Both see that the world is wrong and that motivates them to make it better. Claude listens to people, Edelgard listens to herself. Claude reflects and introspects, Edelgard doesn’t.

I was going to write more but I realized I was just bashing Edelgard so I stopped. Anyways, the Gatekeeper has a backstory??? a younger twin brother and they’re from the empire?? Also wow Edelgard is REALLY into you (the light in the darkness pft)

I also want to comment how the Church of Seiros unlike some other fantasy religions really is like real life historical (and current) religious organizations. There’s a mix of people from the non believers but there to help, to those that believe this is the best way to help people, to those looking for power, to the people who are there because its a way to make a living. I want to make clear though that Sothis/The Goddess is dead and she can only act a little bit through Byleth. Before the game The Goddess has NO influence on Fodlan. Anyone praying is doing nothing in terms of reaching The Goddess.

Hilda: Tell me what I’m thinking about right now.

Ferdinand: Hmm... You want a snack.

Hilda: I DO want a snacc ;) ;) ;)

supports: Ashe Dedue, Sylvain Felix, Ingrid Dimitri, Hubert Ferdinand, Petra Claude, Marianne Ignatz

3h totally fooled me with the hair colors. I’m too use to JRPGs have rainbow haircolors so I think nothing of it but in this game the white/green hair are plot significant.

Somehow related to dragon shenanigans(white/green): Sothis, Lysithea, Flayn, Edelgard, Byleth, Rhea, Seteth

Plausibly a normal color with weird undertones: Ignatz, Shamir, Petra, Felix, Lindhardt,

That inexplicably JRPG colored hair: Bernadetta, Hilda, Caspar, Marianne, Ashe, Lorenz

Ch14 of Crimson Flowers has made me unfathomably sad. Claude hold himself so tightly, closed off with high walls. He always has a face on, doesn’t break composure. But in ch 14 in the face of losing his dream you can see the cracks in walls. And Claude may be closed off but he is in no way cold hearted or uncaring, he cares so much and you see that as the Empire gains ground. That battle is one of the few glimpses of Claude. Whether he is killed or spared, both are sad. The cut scene after Claude is spared is seemingly lighthearted and a tonal contrast to the serious battle right before it. Without knowing Claude better it seems like a breather before more plot happens, but knowing Claude that scene really breaks my heart. In contrast with the moments of honesty during the battle, Claude’s social mask has snapped right back into place, hiding all of his pain. Claude’s dream meant all to him, being able to walk side by side with his friends in a new world, and that dream just took a devastating blow. Claude is by no means dishonest during that scene, but knowing how devastated he is on the inside yet forcing himself to hold it all together... He’s sad and now I’m sad.

The Insurrection of the Seven is fascinating to me. Just because people keep saying different things about it. Was the Emperor seeking to consolidate power for the throne and the nobles stopped him or where the nobles always seeking to turn the Emperor into a puppet ruler? To my limited knowledge I think for a while Emperors had been losing power. Enough so that the experiments on Edelgard and her siblings could not be stopped. He then tried to expand his power and was crushed.

Crimson Flower is quite interesting. Edelgard and Hubert are walking a fine line balancing the church and the Agarthans. The Empire appears unified but its a shell for the Agarthans and Edelgard is betting on the appearance of that shell.

Wow Dimitri is surprisingly sane and not feral in CF. Does the purple clouds in Dimitri’s death CG remind anyone else of the S support CGs?

Lysithea and Edelgard can bond over shared childhood experiences and being short

Can you imagine Claude, Hilda, and Sylvain as a squad. They would radiate such chaotic energies just standing next to each other that Nemesis would leap out of his cyberpunk containment pod and start dancing to leek spin

How is Dimitri clean shaven post timeskip?? Most people in the grips find it hard to be functional and do basic tasks and your telling me he meticulously shaves everyday? I'm calling it. Dimitri is trans and can't grow a whisker

So the brits (and w europe really) went mad for tea and got it through colonization of india. Where does fodlan get its tea?? Its mostly too cold unless you want to convince me theres an extensive breeding program for hardy cultivars somewhere. Dagda?? We know coffee is imported. hot take: the empire started a war to get more tea

I dont talk about dorothea enough. I almost chose BE just for her. She hates nobles and its great. The voice acting is top notch too. Dorothea-Ferdinand c support is memorable to me because of the voice acting. The line delivery was so good. Especially the " I hate you " from Dorothea. She's so savage. She was the only one I considered S supporting after intsys robbed me of claude. Didn't go through with it though. It always feels wierd romancing fictional characters.I remember how P3 forced me on the harem route and wow that was uncomfortable. Dorothea is kind. I like kind people. She's so full of love (Manuela is the other character overflowing with love), and her compassion extends to everyone. She understands the grief of war. Contrast that to local manlet Caspar. Once he's decided someone is an "enemy" he stops caring. Oh Caspar... All of Dorothea's supports are so good too... Dorothea's backstory can get a little disturbing. She's 18 at the beginning of the game. She began singing with the company at 10 and gained fame at 13. What troubles me his how she talks about how after every show she was innundated with marriage proposals and such. The way she talks about it, it went on for a while, and while sure the letters and stuff could have been from other teenagers, that she was getting all this as a teenager is creepy. In addition, then she talks about the nobles fawning over her and it made my skin crawl. But the worst was that a noble possibly her father was coming on to her . Like Dorothea, I'm with you. Let's burn down the world. Despite the justifiable anger though, dorothea is so full of love. Until the last her heart never turns cold.

Thinking about claude and edelgard. On one hand their personalities, ideals, and ambitions complement each other. On the other hand Edelgard doesn't understand how people work and Claude is a manipulator, guarded, he never lets any one in(edited)Claude can totally read her, but Edelgard reacts poorly to criticism and dissent.... Claude has no faith. Not in his dreams and not in himself. With out a push, he's not proactive. Edelgard charges straight ahead while Claude takes the circuitous path. "Defensive" thats the word for edelgard, she so easily thinks people are out for her. Whereas claude deflects. Both are fuelled by a sense of justice. Edelgard thinks in terms of eliminating enemies, claude thinks in terms of recruiting allies. The point is the the tragedy that they would make great friends! But thats not happening in this universe! Because edelgard's bull headed and claude wont open up!

Watching s supports and anyone notice theres 3 variations on the ring. There 2 silver and green ones. At first I thought small green stone was from people with common origins and big stone from noble. But I just saw saw one with a gold ring.It could be that the character is just that extra. And yeah it is gold is from Ferdinand and Lorenz.

Ferdinand was so obnoxious at first. But hes such a good boy. He does his best. He's trying very hard. Also, existential angst is my jam.

I just remembered theres only 5 saints in the Church of Seiros and does that mean the tome of comely saints has erotica of... like... cihol??? And cethaleann????? Uuuuuuhhhhhh...I dont like my brain sometimes.

so that whole fuss that byleth's mom was rhea's daughter was because tons of "gamers" chose BE first and misinterpreted Edelgard's speculation. When in reality Jeralt was the one who Rhea gifted her crest (seiros) to, extending his lifespan. Rhea then cut out baby Byleth's heart and then replaced it with Sothis's crest stone hoping that Sothis would posses byleth. All we know of the mom is that she was a nun and died young. Flames crest stone joined to Byleth's heart (CF ending cutscene). Rhea placed Sothis' heart in baby Byleth to revive Sothis (VW ch 22 opener). She has done human experimentation on people to revive Sothis before (implication). Seiros/Rhea did so so that Sothis would posses the body (Rhea dialog consistently referring to Byleth as "Mother" or hoping that Sothis will poke through).

The only time Claude’s anger breaks through his composure is with Rhea. This is significant as Claude almost never loses his composure, and this highlights how Rhea in the only person Claude hates. Claude doesn’t hate Edelgard or Dimitri or any of the other people that may kill him, just Rhea.

question about the Black Eagles/Crimson Flower ending: why does Byleth collapse and then Sothis' crest stone break? I mean I will give it a break since its symbolic and thematically significant and all and it was a excellent touch that Sothis' heart and Byleth's heart have literally weaved together. Is reviving Byleth Sothis' last act?? Why did Byleth have to die to begin with though? ... well maybe Byleth didn't die since they didn't have a heartbeat to begin with. So far the writing in 3H has been pretty good though there have been weak spots. I think that CF final scene was put in more because it "felt right" than because it was logical. it fits with edelgard's goals and what the route's been about. its just if you really think about it. It doesn't make sense based on what is already known. I mean crest stones could have other powers but I haven't seen that anywhere else in the game. As for the story as a whole, the main acting forces in the game are Edelgard+Empire, those who slither in the dark, and Rhea+Church. Claude also has his own ambitions, but those 3 are more deeply entwined. Each faction has its own goals and past and a good chunk of the game is figuring out what those are. Its also ironic that GD despite how Claude is not enmeshed in ... that other mess, sheds so much light on the other factions.

The main theme is probably about Rhea since it plays a lot during Rhea scenes and the church is a central focus of the story.

the "M-metal gear?!?!?!" moment will always be hilarious for me. On par with dollar store Hitler

Why is it Jeralt's voice on the map even after he dies?

God Shattering Star: How Many Times Do We Have to Teach You This Lesson, Old Man?

Dawn is a recurring motif in Fire Emblem: Three Houses. “the dawn of a new age” is or such is

Claude, a child loved and lonely

i think blue lions was written first. 1 the two monthly missions that have to do with students’ families are both in BL (Ashe and Sylvain). 2 two fairly important side characters at the monastery are related to BL students (Annette and Mercedes). Chapter 3 actually provides a intro for all the lords in their respective routes. Edelgard’s scene is serious but not especially sad, instead you can feel te fire burning within Edlegard and the scene shows how she’s willing to sacrifice the lives of those under her if she believes she is doing the right thing. Claude’s is actually quite light hearted in tone after the first few lines and it highlights the mystery surrounding him and makes him seem very sketchy. Chapter 3 in Blue Lions though is really sad. Ashe my baby boy. Here there is a sense of tragedy in the post battle scene

oh there is another Claude loses his temper. Its when a bunch of thieves (badly) impersonate Almyrans and Claude is so offended they didn’t put enough effort into the act and that they’re weak.

Major Player Goals

Rhea: revive Mother

Edelgard: take down the Church and crest system

Agartha: vengeance on the Nabateans

Claude: usher in a new age of tolerance and prosperity for humanity

Dimirti: keep afloat???

CHURCH SKETCH AF. Rhea always raised the hair on the back on my neck. I mean even in ch3 the first real mission. We're being used as a personal assassination squad because Lonato threatens Rhea's power. and then she's like. This is a public execution to give an example of what happens when you defy the church. and I was like !!!!!!! let's mentally/emotionally scar a bunch of teenagers into fearing the wrath of the church. Rhea: prosecutor, defense, jury, judge

I remember ranting about revolution and society in fire emblem games before having played this one, and wow intsys made a game for me

Ignatz and Raphael. I must protect both of them. sweet sweet boys. Raphael has the biggest heart and Ignatz just wants to help. Team Protect Raphael's Heart. Raphs is pretty emotionally mature too. he gives warm fuzzy vibes. Ignatz takes on so many burdens and clams up about his own pain. He doesn't place any importance on himself. Let my boy be an artist! Raphael certainly has pain, but he doesn't want a life where that pain rules over all else. Raphael is a force of GOOD I would have love to meet Lorenz's dad. I don't have high expectations of him, but I'm curious. we've heard so many different things about him. And he's one of the major actors of the story. But we also know so little about him.

o both Mercedes and Emile have the Lamine crest. If that came from their shared mother, why did House Martritz fall since she was heir? Possible answer sexism or finances. The other option is that both Bartels and Martritz have the Lamine bloodline. Also, Jeritza is younger than I thought he was Modern Advances in Missile System Engineering Wade and Kruger 7e 2XXX

Schöner, Alexa, and ZaiCheng Jun. "Applications of Dymanic Systems Theory in Autonomous Bipedal Assault Units". Journal of Robotics 18.4 (2XXX): 157-170.

I think I'm hilarious. heh. Imagine though, While digging around Shambhala Claude finds these and everyone is just confused because it looks like their language???? and yet the words! they dont make sense!

I didn’t really care when hubert died in VW, but edelgard's death hit me you know. Because both claude and edelgards ambitions are to tear down the old system. and seeing edelgard in that armor. Its like the timeskip all over again. Part 2 begins and you relize how much all the characters have grown. And while you werent looking edelgard has been going through her own journey. When you fight her shes wearing armor with elements from both the flame emperor and her part 2 outfit yeah edelgard is yikes. i agree with her goals but her disregard for yhe lives under her concerns me. And between her tendency to brute force solutions, those who slither in the dark, and the empires situation, I think she was doomed to fail from the start

When Claude ... half jokes??? that Hilda can grasp his throat, is that connected to how Fodlan's Locket (in Fodlan's Throat) is under house Goneril control?

#Fire Emblem Three Houses #fire emblem #fe #fe3h

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eggoreviews · 6 years ago

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20 Dream Games for the Playstation Classic!

The PS1 Classic came out last year. Everyone got excited for a minute, but then we found out it was missing almost everything! Here’s my personal list of the 20 games I reckon should’ve been included. I’ll stick to one per franchise to keep it fair, but I might have to break that rule once. Hope you enjoy/agree!

Note: This is just my opinion. There might be some ones you don’t agree with, and I might have cut some ones from the original lineup you liked. Sorry in advance lol

Before I kick off the list, thought I’d briefly list off the games I cut from the Classic’s actual lineup:

Battle Arena Toshinden

Cool Boarders 2

Destruction Derby

Intelligent Qube

Jumping Flash

Mr. Driller

Oddworld: Abe’s Oddysee

Resident Evil (you’ll see why)

Ridge Racer Type 4

Super Puzzle Fighter II Turbo

Syphon Filter

Tom Clancy’s Rainbow Six

Twisted Metal

Wild Arms

Aight, let’s go.

1. Final Fantasy VII

The quintessential PS1 JRPG, of course FF7 had to stick around from the original lineup. Like it or loathe it, FF7 defined its console and is still highly regarded as one of the best JRPGs of all time. Playstation wouldn’t really be Playstation without this game. This was the game that pushed Final Fantasy into 3D, and firmly into the hearts and minds of players everywhere. There’s little else to say, other than that you kind of already know how iconic this one is.

2. Grand Theft Auto

The humble beginnings of a now mammoth franchise, the first entry in the now legendary GTA series was a top down weird thing that let you explore three separate cities in whatever cars you can find. While this doesn’t hold up especially well today admittedly, GTA was an important milestone, not just for its series but for its console generation and has certainly earned its iconic status to belong on the PS Classic. This one was a good choice.

3. Metal Gear Solid

Another obvious choice, MGS is where Metal Gear really became Metal Gear. Brilliantly cheesy voice acting, awesome stealth gameplay, suitably weird story and the birth of the now iconic codex screen, MGS is like the archetypal cold war film wrapped in a supremely fun package on the PS1. If this wasn’t here, there is no PS Classic and that’s just the tea.

4. Revelations: Persona

This was one I wasn’t expecting an appearance from on the PS Classic, but I’m glad it did. In my head, the beginnings of this extremely weird spin-off JRPG series is an essential piece of kit on a classic compilation. Everyone hoping to experience the best of what PS1 had to offer should probably try this one out and while it certainly isn’t for everyone, it’s certainly unforgettable and deserves its place among the rest of this lot. But hey, maybe I’m biased because I’m obsessed with Persona 5.

5. Rayman

The first in the franchise that spawned my favourite 2D platformer of all time, Rayman made his glorious start on the PS1. While some may argue that the second entry in this colourful, creative platformer series deserves the spot, I’m with Sony in giving the spot to the first instead. Despite the cringey, cliche villain name they went for, this game was innovative for its time and had its own unique art style that still holds up remarkably well today. This limbless boy has earned his place.

6. Tekken 3

The final game from the original 20 I’m carrying over into my list, my thoughts are that this compilation was in need of a traditional fighting game and Tekken 3 perfectly fits the bill. This acts as one of the most iconic fighters on the PS1, and is pretty much superior in every way to the previous two entries, bringing with it more characters, more moves to pull off and a better, smoother combat system in general. This is the perfect fighter for fans of retro and takes its place rather nicely on the classic console.

7. Oddworld: Abe’s Exoddus

Here’s the reason why I cut Abe’s Oddysee, to replace it with what is arguably its vastly superior sequel! Oddysee is still good, but for newcomers to this extremely odd platformer, the larger variety of power-ups and potential strategies is a much better pick for those unfamiliar with the franchise. To put it simply, Exoddus just holds up better today than its predecessor. Get ready for what is kind of nightmare fuel though, as the slightly unsettling imagery and character designs are bound to make you feel a little uneasy as you traverse dystopian, industrial environments as a weird amphibian thing.

8. Resident Evil 2

And, predictably, here’s why I cut the first RE, because there was no way I was leaving this franchise off my list. It was a tough one, but the second just won out. In my mind, RE2 just improved upon the first one in so many ways. While the first was a horrifying, strategic blast through an infested mansion that became one of the PS1′s defining games, RE2 took what the first one did well and built on it immeasurably. More developed characters, a fleshed out story, more unique environments to explore. Even though the map got exponentially bigger, that feeling of claustrophobia never went away and it was awesome the level of horror they could achieve with 90s graphics. As a legendary horror game, RE2′s the one I would go with.

9. Bishi Bashi Special

I know what you’re probably thinking, ‘this arsehole cut Ridge Racer but they’re making room for Uncle Bean?’ Well, hear me out. A lot of you may not have heard of Bishi Bashi Special. It’s a little known Japanese party game that is the maddest thing you will ever play. And in a classic compilation filled with iconic RPGs and the like, I felt that injecting a little chaotic madness into the mix was never gonna be a bad thing. There’s nothing on the PS1 that even comes close to the level of chaotic fun this gives you and shows the pure variety of the console’s back catalog. I’m very firm on this game’s place. Fight me about it.

10. Legacy of Kain: Soul Reaver

A hack-and-slash game with fully rendered 3D open environments, starring a kickarse silent vampire with glowy eyes. It’s a real wonder they didn’t put this on the starting lineup. For real though, Soul Reaver was ahead of its time in a lot of ways, really testing the PS1 to the limit with its graphics and control scheme. An awesome tech demo for the time that still holds up well today, but is also a solid game in general. Very worthy of this list.

11. Castlevania: Symphony of the Night

As pretty much any PS fan will tell you, this game kind of has to be here. And everyone won’t shut up about it for good reason. While Castlevania made its start on Nintendo systems with the original trilogy, it really made its mark on the industry when Symphony of the Night dropped onto the PS1 in 1997. It took what made the other games so great and built on it all, providing a sprawling platforming epic filled with collectible power-ups, hidden places to explore and a story that, at the time, defined the franchise. Many would argue that the series still hasn’t topped this entry, and as such is an essential addition that is sorely missing from the real thing.

12. Tomb Raider II

Tomb Raider is, well, iconic. I’ve used that word a lot but it’s true. Lara Croft and the franchise she belongs to are iconic, especially to the Playstation. And like Castlevania, the lack of any Tomb Raider on the Classic is almost criminal. This title encompassed everything that makes the original Tomb Raider trilogy so great, interesting puzzles and areas that require a lot of strategic thought to traverse, a decent selection of weapons and vehicles and a sense of genuine fun and adventure that runs through the whole thing. Tomb Raider is cool, and it doesn’t need much introduction. And for me, this was the most glaring omission of them all.

13. Crash Bandicoot 2: Cortex Strikes Back

While we’re on the subject of glaring omissions, here’s what was basically the PS1′s answer to Mario and Sonic, Crash Bandicoot. In particular, I’ve chosen Crash 2 because I feel it’s the best experience for new players. Crash 1, while it’s the original, is full of a load of fuckery that may put newcomers off altogether if they can’t master the jolty controls and the slightly unfair life system. Not a bad game, just not great for those new to the franchise. Crash 2 just sort of lends itself better to the classic, challenging but not too much 2D platforming the series is known for. Well-designed, aesthetically pleasing levels, consistently fun mechanics and even a story you can sort of follow. This was Crash at his best, and it needed to be here.

14. Spyro 3: Year of the Dragon

Yet another PS Classic omission that made people sad, Spyro acted as the lesser known, but still suitably iconic second mascot for the PS1. Unlike his orange counterpart, Spyro’s levels felt much less linear and were more of an explorative collectathon rather than a straight platformer. And of the original trilogy, it’s pretty safe to say that number 3 consolidated everything the first two nailed and made it as perfect as it could be. Year of the Dragon defined the series at the time, and it needed to be onboard as much as Crash.

15. Crash Team Racing

Look at me go, I’ve finally broken my franchise rule. But in this one instance, considering how wildly different the 2 Crash games are, I think we can let it slide. CTR was never really meant to happen, it was mostly just a side project for the guys at Naughty Dog to do while they still had the rights. And the result was an awesome, fast-paced and crazy experience to rival Mario Kart. Unlike Nintendo’s equivalent at the time, CTR had much heavier, clunkier feels to the karts you drove, which really made you feel like you were driving this hunk of metal. You had power-ups that kept everything interesting, shortcuts to learn and even a full-on Diddy Kong Racing style adventure mode. Guess we’ll just have to wait for the remaster to relive this one.

16. MediEvil

I’ll be honest, this was the one I was most disappointed to have missing from the Classic. I absolutely adore this game. I love the story, the concept of Sir Dan as a character, the combat and the lovely gothic areas you encounter from a mausoleum to ghost pirate ship. But most of all, the cheeky, totally stupid British humour running through the whole thing, particularly through the game’s archetypal villain Zarok, makes the whole game as funny as it is epic, with a suitably rousing soundtrack following you on your journey to prove you’re not the zero everyone thinks you are. Classic game, desperately needed a place on the lineup.

17. Gran Turismo 2

I’m going to preface this by saying that I don’t care much for realistic racing games, I don’t derive a lot of joy out of them and they aren’t really my cup of tea. But in my efforts to keep this lineup as diverse as possible, I thought I’d include the game that really pushed the PS1′s graphical capabilities to its limits and almost created a game that surpassed its console generation in its looks. There’s a whole wealth of content here; a whole bunch of cars to unlock and a beefy career mode to keep you busy for a fair while. And this game differs from other racing games on the system by rewarding strategic thought and encouraging players to think through every action they take on the race track, which for me makes this the most immersive racer on the system.

18. PaRappa the Rapper

Okay, I know. I really did just put this here. But come on, PaRappa ended up in PS All Stars, so he’s gotta mean something to someone, right? It doesn’t matter how you slice it, this paper dog properly revolutionised rhythm games at the time, creating a fun and responsive, if a little short, experience that was certainly unique for the time. This is another that would definitely fall under the weird category, but it’s a bit of Playstation that doesn’t get mentioned nearly enough and it’s worth a spot on pure fun factor alone.

19. Ape Escape

As one of the first games to rely entirely on the Dualshock analog sticks, Ape Escape is another that falls into the ‘must mean something to someone’ category, as Ape Escape also ended up with a character in PS All Stars. This one is a fairly simple foray, but it was met with a lot of love from fans, as you play as a tiny, chibi version of the dude from Yu Gi Oh (tell me I’m wrong) and round up a bunch of escaped apes in varying platforming levels with a cool selection of gadgets. It’s here because it’s here, let it be.

20. Silent Hill

Silent Hill is pretty much as iconic as horror games get, and yet I somehow managed to forget about it until I got the 20th and final game on my list. It was claustrophobic, gory, full of metaphors you really don’t want to dig into and, most of all, it was terrifying. The constant fog, while it was mostly implemented to account for lack of draw distance, worked in the game’s favour and became a staple in the series. For the PS1 era, this game and the series it belongs to properly nailed the scare factor and left everyone who went near it feeling at least a bit uneasy. Saying this belongs here is an understatement.

Cool, there’s my list. My probably quite badly justified list clouded by pure fan-ness. But anyway, hope you agreed with some of my picks and let me know what games you would’ve liked to see on the otherwise questionable PS Classic lineup below. Thank for reading !

#Crash Bandicoot #Spyro #silent hill #resident evil #persona #tomb raider #castlevania #tekken #final fantasy #medievil #ps #ps classic #playstation #playstation classic #metal gear solid #grand theft auto

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secret-vore-lair · 6 years ago

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An Offer

Posted this a while ago on my main, but in an effort to consolidate all my stories in one place, here it is again! I do hope you enjoy. Willing vore ahead, and safe as always. Featuring the ever lovely Vayreltr and a savvy human morsel.

Arenin is deposited roughly onto the plateau. Her heavy satchel thuds down a second later, rolls of canvas spilling out onto the worn stone. Then comes the massive, colorful blur that carried her here, landing with a heavy grace several paces in front of her. It slinks around to face her, silent except for a shuffling of its feathery wings as it tucks them in close to its sides. For the first time she gets a good look at her abductor.

“You’re a dragon, aren’t you?” she says, shocked.

The dragon grins at her, their featureless orange eyes and elongated face difficult to read.

“Is that really what you want to ask me?” The creature’s voice is an odd mix of animal growl and noble sophistication. Like a stormcloud with particularly good diction.

Arenin shifts uneasily in place. The dragon is sitting back on their haunches, watching her intently, tail flicking to and fro. She wants to stand up, but she fears it will entice the creature to attack her if their intentions are hostile. If she is to escape, she’ll have to take stock of the situation and make a plan. Not upsetting the status quo will give her more time.

“You make a fair point; I suppose it’s obvious what you are.” Arenin glances around. The stone shelf upon which they sit is probably about a hundred feet wide, and higher up than that. By how much she doesn’t know. Distance was hard to judge from the panicked confines of the dragon’s talons as she was carried up from the plains below. She can see the ocean stretching out to meet a cloudless blue horizon. Shame, she thinks. It’s such a fine day in all other respects. If she’s to get down from here, a drop into water is her best chance. Unfortunately, the sea side of the plateau is at the dragon’s back. She’s going to have to get past them.

The dragon continues to stare at her expectantly, flashing that same unnerving smile. Those teeth look sharp.

She sighs. It’s not a good plan, but as soon as the dragon makes a move, she’ll be ready. Maybe she can get around them. Or, better, underneath them if they leap at her. Her bag is too cumbersome to take with her. She looks at it longingly. Two weeks of work mapping out the plains, all for nothing now. Unless this dragon’s got a use for her amateur cartography. Amusement, perhaps. And her drawing compass might make for an interesting toothpick.

Time to find out if any of this is even necessary, she thinks. Maybe they don’t mean any harm. Could be bored, looking to get a rise out of whatever hapless human comes along. They’ll be disappointed if they think they can ransom me. Thesmi’s too much of a miser to part with gold over an easily replaceable apprentice. She takes a deep breath. The dragon hasn’t moved. One way to find out what they want.

“Are you going to eat me?” She asks. She tries to make it sound lighthearted. Like the two of them are in on a little joke together. But her voice catches. The fear and the adrenaline bleed through. Now or never.

The dragon’s grin gets wider, baring more teeth, stretching the teal-blue scales beneath their eyes. “I intend to, yes.”

There is a long second of stillness. Quiet.

And then Arenin says, “Huh.”

The dragon cocks their head. “Surely this answer cannot surprise you.”

“It doesn’t,” Arenin says, carefully. “But I kind of expected you to pounce on me after I asked. Narratively, that would have been the time to do it. Now we’ve lost all the tension.” She makes a round, all-encompassing gesture to illustrate exactly how much of the tension was lost.

The dragon scratches at the ground absentmindedly as they ask, “Pounce on you? Is that how you want this to happen?”

“Are you asking me how I want this to happen?”

“That was more or less exactly my question, yes.”

Arenin can’t believe what she’s hearing. She stands up, fists clenched. “Is this a game to you? Do you lack the decency not to play with your food? Come on, just get it over with already!”

Sinuous and liquid, the dragon eases closer to her quicker than she can realize it’s happening, unfolding and taking a mere two steps to divide the gap between them in half. Arenin staggers back, heart pounding furiously as the fear strikes her anew. She grits her teeth and recovers her posture. I’m not going to give them the satisfaction, she thinks.

The dragon stops when they see her reaction. She could be imagining it, but their face looks … sorry? Surprised and regretful that they scared her. Perhaps a little hurt. “Listen,” they say. “I think we have a slight misunderstanding.” They place a claw over their heart. “Vayreltr. What may I call you?”

It takes her a moment. “Arenin,” she says.

“Arenin. Arenin. Yes, well, it is a pleasure to meet you. As you know, I have brought you up to this spectacular perch because I intend to eat you. I have said as much. However, what I intend may differ greatly from what transpires today. I will consume you only if you wish it.”

Arenin narrows her eyes. “What’s the catch? I obviously don’t ‘wish it’.” She throws up a pair of air quotes. “Are you going to leave me to rot up here is I refuse?”

“There is no ‘catch’,” Vayreltr says, awkwardly mimicking the gesture. It’s so absurd, on top of everything else that’s happened, to see a dragon do air quotes that Arenin almost loses it right then and there. But she restrains herself. This is serious business. Vayreltr continues to speak. “If you say no, I will escort you safely to the ground myself. I will even fly you to your destination. You will make better time than if I had not interrupted your trip. I will do so right now, if you desire, and we will part ways. If you stay, I will speak to you, and through no coercion attempt to convince you to step between my jaws. If you find yourself in my stomach it will be on your own terms. What I am counting on, of course, is that you are curious. The idea that you could be persuaded to become my prey seems improbable, does it not?”

“You’ve got that right. More like impossible.”

The dragon nods, undeterred. “If you leave, you will never find out how I plan to do it. If you stay, I will answer any question you ask of me honestly. I will tell you no lies. I will never harm you. If my goal is, as you say, impossible, then you risk nothing, and I will have embarrassed myself. What say you?”

Arenin considers it. It’s stupid. If they say you can go, you should go. She chews her lip. I’m not exactly in any rush to get back to town, though. Besides, how many people get to talk to a dragon? She looks Vayreltr up and down. They’re exceedingly vibrant, with hide the green-blue color quite unlike anything but the turquoise stones she’d seen some of the nobles wear from time to time, a pale lavender underbelly, and broad, birdlike wings sporting a brilliant spray of blue, purple, pink, and green feathers. Though undoubtedly enormous, Vayreltr is a sleek and striking presence, unlike the rough, bestial dragons she’s heard about in tavern stories.

Finally, that most dangerous of thoughts slips into her mind. She says it out loud.

“What’s the harm? Sure, I’ll stick around for a while. You’ll answer whatever I ask you honestly?”

Vayreltr’s forked tongue flicks out in excitement. “Certainly.”

Maybe this wasn’t such a great idea. “So do I just … start asking you things now?”

“If you like.”

“Okay. First off, is Vayreltr a male or a female dragon’s name? You’ll forgive me if I can’t tell.”

“It is my name.” The dragon folds their claws in front of them as they lie down before her. “And I do not fall into either category. So I suppose you could say it is neither.”

Arenin sits down, too. May as well get comfortable. “Sorry,” she says, “I hope that wasn’t a rude question.”

“I take no offense.”

Arenin nods. “So, uh, what makes you think I’ll agree to being dinner for you?”

“Direct, are we not?” Vayreltr chuckles. It sounds like a small earthquake. “Well, the odds of it actually happening are admittedly not as great as I would like. I will tell you this: should you choose to have this experience, you will not perish. You will not be harmed in the slightest. I will even endeavor to make it enjoyable for you. It only seems fair that I do so.”

“And how would you accomplish … any of that?” She tries to sound detached, like she isn’t seriously considering the idea already. She certainly shouldn’t be, she thinks. But it’s been on her mind since the moment she felt herself rising from the ground in a powerful, alien grip. What was once desperate fear has now given way to reluctant curiosity.

Vayreltr thinks. “Before I answer that for you,” they begin, “would you tell me whence you travel?”

Arenin hesitates. “Cromaedil. In the valley to the north. Why do you want to know?”

“That is, what, another two days’ travel on foot? You are not carrying much. You plan on stopping at a town along the way.”

“Um, yeah. Why the sudden concern with my travel plans?”

Vayreltr is looking out over the sea. The world around them is strange, a featureless shelf, and then the sky, and everything else far below. The unfamiliar perspective is obvious with the land because of the shrunken trees, but the sea does not suffer for the distance. Vayreltr says, “The sun will go down soon. The night will be cold. Should you opt for me to swallow you, you will find my belly warmer than a bed in any inn. I have ways of keeping you, enchantments that will ensure you experience no harm, no pain. The place you rest will be made safe for you, and comfortable. Come morning I will release you, and carry you to your destination, and you will have no need to face the dangers along the way.”

Vayreltr turns to her, craning their neck down to be on her level. “I know what I ask of you is strange, but I implore you to consider it anyway.”

Arenin is perplexed by her own behavior. Those jaws, the ones she feared only minutes ago might engulf her— Still might, she thinks, before shoving that particular thought into a dark corner of her mind— they’re so close to her right now, but she doesn’t flinch away. Her stomach clenches up. It was easier to be frightened, or even mystified. Now she doesn’t know what to think. “Um … if you eat me, you’ll fly me to Cromaedil, and I’ll skip the trip. No paying for a room. No waving a torch at wolves.”

Vayreltr’s featureless gaze is as silent as their voice as they wait for her to continue. Hunger tempered with monolithic patience. Watching. Anticipating. Arenin’s mouth is a bit dry. Vayreltr’s is not. She can see them salivating. “But if you don’t eat me,” she says, “then you’ll still take me there? All the same?”

The dragon nods. “That is correct. Or any other place you would like to go. Within reason, of course.”

“So to clarify, there’s no reason for me to choose the path that leads, well…” She indicates with her upturned palms the towering form of the dragon before her. She gulps. “Inside.”

“I am not incentivizing any particular choice, if that is what you mean. It would be unjust. If you choose to have me surround you, I would hope it is because you choose it on its own merits; that is, in much the same way as I desire the satisfaction and closeness you could give me by allowing me to consume you, you may desire the warmth and comfort I could give you by allowing you to shelter yourself within me.”

“You’re a really eloquent speaker.”

“Only on subjects in which I am well versed.”

“You realize saying you’re an expert at eating people doesn’t exactly help make your case, right?”

Vayreltr raises an eyebrow. “Oh? Does it not?”

Gods, what’s this feeling, now? “Okay, okay, okay,” Arenin says, a little quicker than she means to, “this is … a lot to think about. What if I need some time to consider it?”

“Then time you shall have. Eventually I will need to move on, though, and find another with which to fill my stomach. You may stay as long as you like, though once you leave you may have trouble reaching me again.”

Arenin watches the reddening of the sky. Feels the deepening chill in the soft winds around them. She makes up her mind.

She turns back to her strange companion. “This is not at all how I expected today to go, but … I’m glad we met. This conversation was extraordinarily weird, and I didn’t realize how much I needed that. So, it was nice to have met you, Vayreltr. But I’ve made my choice not to stick around. In any capacity. So I’m going to ask that you take me to Cromaedil. It was nice to have met you. I already said that.” She nods abruptly and throws her satchel over her shoulder. “You, uh, think it’ll go like this the next time I meet a dragon?”

Vayreltr stands. “To my knowledge, you are unlikely to have occasion to safely explore this possibility with another dragon. This is the result of both the scarcity and general disposition of my kind. Though if we should again cross paths, I will not deny you. The dearth of willing meals, I suspect, is also due to both scarcity and disposition. Few humans have been agreeable enough to hear my offer, and when it comes to sentient prey, I cannot bear to disagree with what I eat.”

They shake their head. “My apologies. I am rambling in an attempt to mask my disappointment. I enjoyed getting to know you as well, Arenin. I wish you nothing but kindness in your travels. Do try to avoid being captured by dragons in the future. Something tells me most of them would not know how to show you the appreciation you deserve.”

They offer their claw to her, and she steps into their grasp. As their talons curl carefully around her, and they spread their wings in preparation for departure, she says, “You’re going to keep your word. You’re really going to let me go.”

“Of course.” They back up for a running leap.

Arenin takes a deep breath. Can’t lose her nerve now, or it’ll be too late. “Hey, Vayreltr?” she calls out, “You may be fast, but it’s still a long trip. I don’t want to freeze to death, so maybe I should ride in your mouth?”

The dragon is still.

For the first time, there’s a catch in Vayreltr’s voice as they say, “Are you certain?”

“And after you put me in there,” Arenin continues nervously, “maybe we don’t have to go anywhere tonight, after all?”

“Are you suggesting … what I think you are suggesting?”

Arenin can’t help but laugh at the absolute shock on Vayreltr’s face. “I’m— oh, oh gods, I’m sorry, I’m not laughing at you. I mean, I am, but it’s just because I was so anxious and now it’s… You’re…” She stops. She wipes the tears from the corners of her eyes. “You’re kind of adorable when you’re caught off guard, you know that? Your neck feathers fluff up and everything.” Maybe it’s the light, but she thinks she sees the dragon blush. There’s a look of absolute panic on their face. “Oh, take the compliment,” she says, smiling. “There’s no shame in it.”

She sighs. “Look, Vayreltr, seriously … I feel bad about it, but I wasn’t entirely honest with you. I only turned you down because I wanted to make sure I could trust you. The truth is … oh, this is weird to admit, but you convinced me. I actually want to try it. With you. I hope that’s still okay.”

“You … you mean that?” The dragon lifts her up to eye level.

She tries to cross her arms, but is thwarted by her position in the dragon’s grip. She ends up resting them atop one of Vayreltr’s claws as she might on a table. “I’m as surprised as you are. But yeah, I mean it. So, do we just—”

Vayreltr’s cavernous maw yawns open before her.

Arenin’s bag falls back to the ground.

“Yeah, alright. Cool.”

Arenin sighs and puts her head down with a splat, gathering up the tongue beneath her like a pillow. After the day she’s had, it feels cozier in here than she could have dreamed. “I know you can’t exactly respond with me in here,” she says. “That’s okay. I’m fine with doing all the talking right now.” She feels their warm breath swirling in the humid cavern above her. It’s an odd notion that she could get used to this, but the truth is … she could. She had thought she’d need to tune out the reality of where she is to feel at ease with the situation, but it turns out not to be necessary. I’m in a mouth, she thinks. I’m in a dragon’s mouth, and it’s comfy. This is fine.

After a time, watching the slow trembling of the red and pink that holds her, she rolls onto her back. There seems to be no end to Vayreltr’s patience, but Arenin finds herself ready to take the next step. “You can gulp me down when you like, by the way,” she says. “I’ll be fine. Throat looks pretty inviting, if I’m being honest. Besides,” she adds, sitting up, “I bet you can’t wait to get me off your tongue. I know you’ve got a whole speech you’re dying to make. Probably going to spend the next hour and a half congratulating me on making the right choice.” That comment is greeted by a soft, quakey chuckle. She can’t help but smile. Their joy is infectious. “Well, lucky for you, I’ll be a captive audience soon enough, won’t I?”

#vore stories #oc: Vayreltr #safe vore #willing vore #soft vore

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bassimelwakil · 7 years ago

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GDS3 Essay Answers for Round 1

So the Great Designer Search has begun. Several people I follow on twitter who were eligible to enter put up their answers to Round One, an essay contest (which meant I now knew the questions). (http://sarpadianempiresvol-viii.tumblr.com/post/170001140404/the-great-designer-search-3-trial-1-essays and https://mtgcolorpie.com/2018/01/22/gds-3-round-1-essay-answers/)

I thought it might be fun to answer them, despite my ineligibility to actually enter GDS3. (I don’t live in the US).

Unfortunately, a lot of the essays’ questions irked me and most of my answers end up containing a level of snark I’ve tried to tone down so I don’t end up sounding like this...

1. Introduce yourself and explain why you are a good fit for this internship.

2. An evergreen mechanic is a keyword mechanic that shows up in (almost) every set. If you had to make an existing keyword mechanic evergreen, which one would you choose and why?

I am presuming the following:

I cannot change the mechanic anyway, not even in name. (Otherwise, this question may as well ask me to invent a mechanic.)

I can’t choose ability words, as they’re not the same as keyword mechanics. (Similarly, I couldn’t pick hybrid mana.)

I can pick keyword actions. (I’m being pedantic, but since the hypothetical is asking me to make choice, I’d rather know what my options are... or are not.)

So I’m picking Crew.

There’s no good candidate for a Blue/Black keyword (an obvious circumstance for selecting a keyword), and really the two mechanics that ought to be evergreen are Crew and transform for this same reason:

Every Magic world needs them.

It’s why Equipment became evergreen; mechanics are either necessary to gameplay or creative (or both). Some story elements cards ought to capture, such as swords and shields. But Magic cannot capture other basic creative needs because the evergreen keywords needed to represent them don’t exist. I can think of five such tropes currently absent.

Vehicles remained absent until Crew.

Transform carries logistical issues and walks the tightrope of being too broad, like Kicker.

The complexity of Crew may be a concern, but that can be offset by its intuitive and independent natures; the mechanic piggybacks on creative resonance and doesn’t need to appear more than once or twice, nor even at common, to do its job.

And it’s so much fun.

3. If you had to remove evergreen status from a keyword mechanic that is currently evergreen, which one would you remove and why.

Defender.

It’s a downside mechanic that does nothing.

It can just be written out, the game text is three words.

It’s annoying because creatures with defender don’t count as creatures in design skeletons, and they wheel in draft because they can’t attack. And sometimes they’re a trap; newer players take them and miss that one little keyword without reminder text and end up with a dud in their decks.

And R&D don’t even use it when they could: most effects that stop a creature attacking don’t even give the creature defender. Pacifism-auras say “it can’t attack”, not “it gains Defender”. Auras that say “it can’t attack or block” can’t give defender because it would look counterintuitive; “it gains defender and can’t block”.

It’s a keyword that got grandfathered in because of walls, and really, that’s this keyword’s purpose: to consolidate a tribe around specific gameplay.

Walls are cool. Buffing your walls/creatures with defender remains silly fun and was a theme in Iconic Masters. One of my best friends loves doing this. I made a commander deck I adored which sat behind lots of walls and forced everyone’s creatures to attack (this was before goad).

So write the mechanic out, de-keyword it, and create a new creature type. “Guardian” will do. Then make creatures that say, “Guardians and Walls you control...”.

Yes, other evergreen keywords might be a problem, such as Hexproof, but Defender demands players actually remember what it does; the actual number of evergreen keywords MtG can sustain remains precious, and Defender doesn’t need to be one of them.

4. You’re going to teach Magic to a stranger. What’s your strategy to have the best possible outcome?

I’d ask them to pick two of the following:

Soldiers and honourable knights

Wizards of water and air

Necromancers and zombies

Goblins and pyromancers

Elves and big monsters

Then I’d get the two welcome decks they picked and tell them to shuffle them together. I’d then pick two other decks they didn’t pick and shuffle them together and start explaining how the game works with broad strokes, animating the game’s rules by picking up cards and focusing on the fun.

I want to focus on why I’d make them pick decks: I want a new player to immediately notice the personal customisation of the game by making them pick two colours and smooshing them together. After one game they will immediately wonder what would’ve happened if they combined two other decks together or one of their chosen decks with a deck they didn’t pick, because once a player realises how much customization Magic has, they’re hooked.

I was the first person in my town to play MtG so I taught most of the people in my area.

That’s how I did it. They picked two colours (no sample decks back then) and I gave them what cards I could in those colours so they could have a deck.

5. What is Magic’s greatest strength and why?

As I pointed out in my previous answer, the customization Magic offers. Players can truly make Magic their own in a way almost no other game has. Thanks to the versatility of the mana system and the faction distinction in the colour pie, players get to essentially compose the colours of their deck, making it an intensely personal game.

Right now, one of my best friends is getting hooked to this game, and this is what’s drawing him in. We draft and he loves playing colours he’s not played before, combining them in new ways, finding new strategies to explore.

The modularity of the game creates the opportunity for players to invest themselves in it.

6. What is Magic’s greatest weakness and why?

The community.

Players can customise Magic so completely that what matters to them becomes the only thing about the game that really matters and anyone who disagrees isn’t “really” playing Magic.

Players will happily dismiss cards as rubbish if they won’t hit their chosen format. That negativity drives people away because, hey, that card might be a lot of fun in another format.

Other players, deciding Magic must be serious, don’t like silly cards, and so cards that aren’t powerful or even sensible get mocked.

And that’s if you can even find players who want to play the same format as you.

Players who take the time to invest in Magic can easily become stubborn, and won’t play outside their comfort zone. My (now former) playgroup was at first, all about serious tournament constructed play. Then it became about Commander, playing their decks against each other, but the politics was always very Spike-y. But I I loved diversity of format. I loved trying new things: Planechase, Archenemy... just recently I played my first ever Pauper tournament. I don’t like constructed formats, but I’ll play if that’s what everyone wants. My new playgroup, amusingly, made of friends in the same group who were put off Magic because they “weren’t good enough” and never found it that much fun, are finding it to be fun precisely because I show up with different sets to draft and different formats to try; Wizard’s Tower, Explorers of Ixalan, and they’re getting hooked as I show them that Magic isn’t just one game.

And then there’s the community that doesn’t even play Magic but their existence drastically affects other people’s capacity to get cards: Investors oft-times turn Magic from a card game into a stock market game, that casual players now find themselves embroiled in as unwilling participants. You can’t play Magic without playing the market anymore... which is why I make decks for my friends.

As I cultivate my new gaming group, I’m simultaneously inoculating them from the community’s problems.

7. What Magic mechanic most deserves a second chance (aka which had the worst first introduction compared to its potential)?

Tribute.

It’s not fun in a standard-legal set pushed for competitive play because no one wants to do that at tournaments, or even in 1v1 games.

But Conspiracy sets would love it. It’s the kind of mechanic you absolutely want to debut and delve into in Conspiracy or Commander because the whole joy is you get to pick who pays tribute. You get to make a great deal, “pay the tribute and I promise you [blah].” It causes players to make alliances, break alliances, create grudges, end grudges...

That’s what you want in a keyword for multiplayer Magic.

8. Of all the Magic expansions that you’ve played with, pick your favourite and then explain the biggest problem with it.

My favourite expansion is probably Khans of Tarkir.

I love Morph. I love the creative behind Khans, a war-torn dragon graveyard makes it so unique. I love the real world influences for the clans. I love the five clans. I love the enemy-three-colour combinations more than any other colour combinations. And my favourite clan might be the Temur.

My biggest problem with it... Ferocious.

The Temur deserve better than that mechanic. I remember spoiler season: we’d seen the creative for each of the five clans, but the last clan mechanic to be spoiled was the Temur. I was expecting something to fit the art for Savage Punch because lookatit.

Bushido!

That’s what I expected. The finally renamed Bushido. “Duelling” maybe. It would work when they attacked, blocked, or fought. It would be perfect.

And instead we got this reprint of the Naya mechanic from Shards, which was boring back then too.

Ferocious. And then in Dragons of Tarkir you failed me again ad gave them the way too similar in both name and function keyword, Formidable...

It still drives me crazy.

9. Of all the Magic expansions that you’ve played with, pick your least favourite and then explain the best part about it.

Dragons of Tarkir.

That list I made of why I loved Khans? Yeah, you got rid of all that. Except Morph. And it managed to make Dragons boring.

But the best part? There are four cards I love.

Zurgo Bellstriker because I love how he plays and I love the character.

Dragonlord Silumgar because he is fat and cute and he steals things while on his chez-long being petted and adored.

Narset Transcendent because this one of the most beautiful pieces of art in the game.

Sarkhan Unbroken because he is the most metal planeswalker and it’s about time he got back to being a badass and look at the art shut up.

10. You have the ability to change any one thing about Magic. What do you change and why?

Some things I would love to change remain to speculative on my part because they restructure the way in which certain decisions regarding story or reprints are made. But... since I’m not privvy to those discussions, I’d rather save those suggestions for another time.

Instead, I’ll look at a problem that needs solving.

Commander.

MaRo’s blog continually floods with the demands of Commander players that fights against the demands of every other format. These demands basically stem from two issues:

The Legendary rule

The colour identity rule

A “Tribal Commander” showcases both of these issues.

Commander players want a legendary creature that grants a tribal bonus so it can lead that tribe, and the commander needs to be in all the colours of that tribe.

But Non-Commander players want the creature to not be legendary, so its tribal bonuses can stack, and in few colours as possible, so it can go in different archetypes of that tribe.

I have some suggestions for fixing the colour identity side, but since Wizards doesn’t control the format, I’ll focus on the change Wizards could implement: get rid of the Legendary rule.

I was expecting the rule to go when Ixalan debuted Legendary Planeswalkers, yet it remains. The Legendary rule has changed multiple times and it’s gone from being a cool bit of flavour to an irrelevant nuisance.

What formats actually care about the rule?

Limited players don’t care, neither for cube, draft or sealed, since most cubes are singleton and Legends are rare or mythic, appearing infrequently.

Constructed formats like standard or modern don’t want to care. Constructed formats want to be able to make their decks as consistent as possible and the legendary rule aggravates.

Most damningly, Commander itself, the format that cares most about whether a card is legendary or not, doesn’t actually care about the legendary rule. You’re only allowed one copy of any card.

The rule just gets in the way; people ignore it but enjoy the flavour behind it.

I’d argue the flavour of legends would survive and does not rest in that rule.

Thanks for reading, hope you enjoyed it.

#gaming #gds3 #magic the gathering #mtg

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mergedragonsguide · 4 years ago

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Merge Dragons Cheats

Merge Dragons Guide

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I love playing this game and it's really rewarding, but when ever i go on, there are times that i find i have lost dragons in my camp, they are mostly the event dragons or the owl griffons, this is the second time i have gotten on and found that an entire species of dragon is just gone.

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