#my character's also a follower of the Aspect of Dragons

[mik-arts]

after a long fight to rescue her from a dangerous figure from her past, Noore chose to leave the party for her own protection - leaving behind only a note and a devastated Flora

[juyendraws]

[Limbus Company] Faust’s Development (or Lack Thereof) in Intervallo 6.5

So Murder on the WARP Express came out and uh… The suspicions I had regarding Faust’s future arc ended up being confirmed. Faust is definitely not reaching out to the truth. I didn't expect the seeds for her story to be planted so soon, but here we are. It’s real. And you're probably thinking, “Uh… WTF are you talking about?” Let me explain to you what I mean.

The message of Library of Ruina is a critical part to understanding what's going on in Limbus Company. I will tell you straight-up here and now, absolutely nobody in the fanbase knows what the hell LoR is actually about. Nobody. And it is such a shame, because it has such a great message that absolutely nobody talks about. I'd love to tell you much more about it, but that involves long explications on Jungian Psychology, the Jewish Kabbalistic Tree of Life, and the story itself, which I don't wanna subject you to yet (I am saving my esoteric lore dumping for the video scripts I’m currently working on). What I will tell you, however, is that the lessons learned by Angela and Roland in LoR are all about opening oneself to everything that is possible in life. The ways in which they do this are:

(1) To listen to one's inner world, or intuition. Don’t just blindly believe whatever someone else says. Follow your own inner voice. 

(2) To listen to one's outer world, or reason. Don't just believe whatever you want to believe. Look at the facts and be receptive to others' opinions. 

That's all you need to know for now about this particular subject. The theme of opening oneself to infinite possibilities is one that carries over from LoR to Limbus Company, and it is present in every Sinners' story. Literally all of them were/are limiting themselves in one way or another due to their flawed beliefs. And each of them is on their own journey of self-realization, or in Jungian terms, “individuation.”

The Mirror Worlds also expand on this theme. They provide infinite ways of looking at the same subject, which sounds wondrous and exciting at first, but it really just reflects what's already there. Remember Yi Sang's and Heathcliff's arcs? For Yi Sang, the Mirror reflected his already-existing potential, while for Heathcliff, the Mirror reflected his surrender to a perceived fate. Mirror World Identities may offer additional combat prowess as well as insight into the characters/worldbuilding, but they end up being quite limiting due to their usage (basically “cheating”) and very nature (as "reflections"). 

Moreover, Goethe's Faust was something that repeatedly showed up in my research on Jungian Psychology. I kept finding Faust's story referenced in articles, academic journals, as well as the book I'm currently reading called Man and His Symbols. This book was written by Carl G. Jung and some of his most trusted followers, and it legitimately explains what Project Moon's mindset was while forming the world and stories of their games (I am not even exaggerating. I have to constantly pause my audiobook and write down notes on what I'd just read because it keeps indirectly revealing PM’s intentions for the series). Anyway, in one of Joseph L. Henderson's chapters named “Heroes and Hero Makers,” he talks about how the archetype of the hero cycle is represented in many stories. An aspect of this archetype essentially revolves around the “hero vs. villain,” or in Jungian terms, the “ego vs. shadow.” The hero must face off against the dragon and triumph. It’s about the development of consciousness through the "ego" (awareness that one exists and has an identity) mastering and assimilating the "shadow" (the parts about ourselves we don’t like or don’t acknowledge deep down). This archetype exemplifies the stage that’s supposed to take place during childhood and adolescence—it’s about growing up. If the hero fails to slay the dragon, i.e. a person fails to assimilate their shadow into their psyche, they become stuck in this state of immaturity. Henderson uses Faust as an example:

“One can see this theme, incidentally, in a well-known literary hero figure—Goethe’s character of Faust. In accepting the wager of Mephistopheles, Faust put himself in the power of a “shadow” figure that Goethe describes as “part of that power which, willing evil, finds the good.” Like the man whose dream I have been discussing, Faust had failed to live out to the full an important part of his early life. He was, accordingly, an unreal or incomplete person who lost himself in a fruitless quest for metaphysical goals that failed to materialize. He was still unwilling to accept life’s challenge to live both the good and the bad” (Man and His Symbols, page 121). 

Henderson is saying that Faust is reluctant to face life’s hardships, so he lets his unconscious aspects—his shadow, or Mephistophiles—control what he does because it’s easier for him to live that way. And as a result, he remains this underdeveloped, immature person. 

In Limbus, Faust’s shadow is Mephistophiles, the reflection of her inner pride and desire to learn more. The knowledge she gains from the bus, her ability to communicate with her IDs, is incapacitating her ability to develop as a person. She’s using it as a crutch. And her overreliance on this knowledge, ironically, reveals how truly ignorant she is. The literal shadow cast in Faust’s E.G.O is her IDs for these very reasons—she is afraid of not knowing what to do.

Anyway, the reason I brought up LoR’s message and the Mirror Worlds earlier is because it is very, VERY relevant to Faust’s arc. Each of the Sinners need to reach out to all the possibilities of life. To not just blindly follow their own beliefs or the beliefs of others, but to see the truth through their own eyes, unclouded by bias. Through her use of the Mirror Worlds, Faust goes, “Well, I’m already reaching out to all possibilities! I’m following my intuition and using reason!” And she technically is, but it’s paradoxical. She is using intuition and reason… But it’s all through the use of her IDs, which are both “herself” and “not herself” at the same time. So she’s still just blindly following her own beliefs and the beliefs of others; she’s only listening to her own opinions and copying down what others say to her, all at the same time. 

I noticed this while rereading key parts of the game again. In Episode 6-25, the Sinners discover the researchers’ experiments below Wuthering Heights. Faust was utterly oblivious as to what their goals were, and Dante commented on how odd her behavior was when she finally started talking.

Later in Episode 6-44, she urges them to find out who informed Erlking Heathcliff about the Mirror Worlds, causing them to pick up on the fact that she doesn’t actually know everything.

In Episode 2 of the 3rd Walpurgis Night, Faust freezes up when asked by Dante to give a more detailed explanation on the Library. She then gives soft confirmation that she is, indeed, in cahoots with her IDs.

Murder on the WARP Express spilled everything. As a result of being separated from Mephistopheles, she is forced to be without her IDs and must figure things out on by herself. Her complete cluelessness regarding what to do demonstrates her lack of any true life experience. She acts like a newborn baby attempting to walk. However, while she is clueless, she is not helpless. She, in fact, does have the potential to grow if she puts her mind to it. Faust exhibits curiosity, ingenuity, and amiability when she must undergo the trials of the WARP train incident.

She takes interest in the perspectives of the other Sinners when asking for help. She is able to discover new things and problem-solve by herself.

Faust can learn on her own and make friends if she really wanted to.

...Unfortunately, she falls back to her dependency on Mephistopheles at the end of the story and closes herself off once again.

Faust refuses to experience any pain that could otherwise spark a realization about herself. She is harming her ability to form relationships with others, as she habitually ignores them or prevents them from giving her advice. She actively denies herself the chance to truly learn about the world and come to her own conclusions—she is impeding her own personal growth. 

Out of all the Sinners, Faust is probably the least developed as a person. Yi Sang, Ishmael, Heathcliff—even those who are about to undergo or are still undergoing their arcs such as Don Quixote, Rodion, or Meursault—are fully-formed people. Faust is not. She is still stuck at the stage of having evolved ego-consciousness while everyone else around her is already achieving the Self. She's worryingly far behind. It’s honestly really sad to watch. 

I was debating on whether or not I should make this post for a few reasons. For one, I’m unable to read Goethe’s Faust at the moment, as I am still preoccupied with my research on Jungian Psychology and Jewish Mysticism for the previous two PM games (Lobotomy Corporation and Library of Ruina). I didn’t want to say anything too specific about Faust’s story until I read her book. Secondly, this topic is really difficult to explain without delving into the Jungian elements in the PM universe. I felt I would end up confusing people if I just came out of nowhere with this post; I initially wanted to speak more about the foundational elements before anything else. 

Nevertheless, I feel that this knowledge I had on Faust, Jung, and PM’s lore was relevant enough to share. I was SHOCKED at how accurately I had predicted Faust’s future character development. The only other person I told this to was my younger sister, and I said, “Faust basically found a loophole through the lessons Angela and Roland learned in LoR. She’s only believing whatever she wants to believe, while also only believing what other people tell her. She’s using Mephi and her IDs as a crutch… I think that’s why she’s alone a lot of the time.” AND I ENDED UP BEING RIGHT. I had to stand up multiple times while playing through the Intervallo with my sister because of how excited I was at this. 

Murder on the WARP Express demonstrates that a good understanding of the games’ themes and of Jungian literary analysis is absolutely essential to figuring out each Sinners’ arc in Limbus. Deciphering, for example, the specifics of Faust’s connection with Gesellschaft is not-so-much valuable as having a strong grasp on what aspects of her character PM is trying to explore. “What is the text communicating? How does it relate to Jung’s ideas? What is the lesson this character is meant to learn?”

That is what matters at the end of the day. 

[felassan]

Game Informer:

"Bespoke Armor, Transmog, And Other Aspects Of Gear In Dragon Age: The Veilguard by Wesley LeBlanc on Jul 04, 2024 at 04:00 PM Dragon Age features a ton of different customization options. Just within the character creator, there are hundreds of options to customize things like hair, body type, what your playable character Rook's face looks like, and so much more. There are also a ton of armor options, too.  Companions have an armor slot, a ring slot, an accessory slot, and a weapon slot, while Rook has access to even more – a helmet, two weapon slots, a belt, an amulet slot, and two ring slots. A belt having its own slot might sound odd as it's not an armor piece people typically think of when kitting out an RPG warrior. However, the belt is an important facet of Rook's kit. The better Rook's belt, the better the potency of their healing potions, which are replenished by destroying green pots scattered about the world. That's not all, though, as higher-quality belts can proc [editor's note: proc is a term used as a shorter way of saying "programmed random occurrence"] additional effects like momentary invulnerability."

"When creating your character, you can immediately view aspirational armors, which won't play into Rook's class until the "mid-to-late game," according to game director Corinne Busche. You can also toggle Rook's starting gear and casual wear in the creator, giving you a pretty good look at how Rook will look in more laidback cutscenes, in combat, and how they might appear later in your Veilguard journey. Busche tells me a lot of the gear in Veilguard is bespoke to your Rook or their followers, which is to say, an armor piece for a Warrior-class Rook probably won't be in a chest for a Mage-class Rook. On a similar note, armor designed for companion Bellara Lutara can't be used for another companion like Lace Harding. In just my few hours viewing Busche play the game as part of my visit to BioWare's Edmonton office for our current Game Informer cover story, I see a lot of armor to collect from things like chests scattered about Arlathan Forest, for example, and elsewhere. Some of it looks awesome, and some of it doesn't quite line up with my personal taste. That's how it goes in the genre of RPGs. However, Busche tells me there is transmogrification, or transmog for short, in the game, and calls it "robust." This means you can take an armor's stats and apply it to a different piece of armor. In other words, if you have a really cool piece of armor you like and find a new piece with better stats but don't want to give up the look of your current armor, you don't have to. Transmog allows you to take that new armor's stats and apply them to your current armor, giving you all the benefits while keeping the visual style you prefer.  Transmog isnt just for Rook, though; you can transmog armor and other things for your companions as well. I don't get to see how Veilguard's transmog system works in-game, but just knowing it exists allows me to rest easy knowing my Rook will look as fashionable as possible while saving Thedas. For more about the game, including exclusive details, interviews, video features, and more, click the Dragon Age: The Veilguard hub button below."

[source]

Felassan's cliff notes section of post:

There is a ton of armor options

Companions have an armor slot, a ring slot, an accessory slot and a weapon slot

Rook has access to more: helmet, 2 weapon slots, belt slot, amulet slot and 2 ring slots

The belt is an important part of Rook's kit. The better the belt, the better the potency of their healing potions. Also, higher quality belts can proc (programme random occurrence) additional effects such as momentary invulnerability

Healing potions are replenished by destroying green pots found in the world

In CC, you can view aspirational armors which won't play into Rook's class til mid to late game, and toggle Rook's starting gear and casual wear. This allows you to see in CC what Rook would look like in different situations throughout the game

A lot of gear is bespoke to Rook or their followers, "which is to say, an armor piece for a Warrior-class Rook probably won't be in a chest for a Mage-class Rook".

Armor designed for one companion can't be used by another

There is lots of armor to collect from things like chests scattered around Arlathan Forest, for example, and elsewhere

The game's transmog system is robust and allows you to take an armor's stats and apply it to a different one. You can take a new armor's stats and apply them to Rook's current one

Armor and other things can be transmogged for companions too

[source]

[fiery-emblems]

The other day I drew an idea for "what if branded could transform", but really I just wanted to design a dragon. In reality I think you could take the idea way further.

What if you were to take the idea of branded being half laguz way more literally?? Basically I think it would be cool to have more of a half transformation resulting in what are basically monsters from myth and legend. Of course, I continue to have an interest in a story where the branded are the main characters and the heroes so, making them look like monsters but actually be good guys is fun to me!

The first and most obvious version of this idea would be the half human/half wolf (werewolf). I don't think they would lose themselves like werewolves, but they are the most iconic animal human hybrid design!

The next most obvious design would be half human/half bird (harpies). I think its important to really push the animal aspect and not just make them sexy sexy mostly human things. I think it would be fun to explore the design differences between hawk harpies, raven harpies, and heron harpies.

The cats are the hardest ones to design imo because there aren't that many human/cat hybrid monsters in mythology that aren't also mixed with even more animals. Its probably fine to just follow the example of the wolves and do were-cats though. Still cool!

For dragons I actually think there are a couple different directions you could go in. For this idea I basically went with your standard high fantasy/DnD demons and devils. There's only one half dragon in Tellius but this is another case where it would be really fun to design different looks for red, white or black half dragons since the ones we see in canon have slightly different builds and horn designs plus the different skin colors. (I would go with different skin colors like tieflings. The whole idea is for them to look like monsters and I think dragons should be scary!!)

The other idea I had would be for half dragons to be oni? Basically the same design sensibility but you would lose the wings. My reason for this idea is because oni are cool dragons in Tellius are kind of seen as this terrifying force of nature that could destroy everyone if they wanted to, which is kind of what oni are as well. I think it could work nicely.

[howtofightwrite]

I'm writing a scene where a cultivater (chinese martial artists who fights ghosts) falls in a forest and I'm trying to figure out how someone who fights on rough terrain would train to fall. I tried looking at martial art/parkour/stunt man tutorials, but I feel like a lot of the basic techniques (rolling, and slapping the ground to distribute weight) wouldn't work well on uneven ground. I also tried looking at hiking advice but they just say to fall on your pack. Any insight?

Chinese cultivators don’t fall, they choose to reacquaint themselves with the ground.

That sounds like a joke, but the best way to understand Chinese cultivators and Chinese fantasy media is to realize that martial arts are the gateway drug to magic. And that will get you into a lot of trouble if you follow that all the way into Martial Arts Give You Superpowers, which is both the outgrowth of the western understanding of Chinese culture and a trope rife with orientalism. Cultivation seems simple on the surface when you’re watching Chinese media, but it’s more than martial arts, it’s more than religion, it’s more than mythology, (though it is all of those too) it’s a genuine transition into metaphysics that reorients how we understand and interact with the world around us. The concepts we see in cultivation come from real martial arts philosophy that you find in Tai Chi, Shaolin, and most other Chinese martial arts. They come from real religions including Daoism, Buddhism, a healthy dose of Confucianism, general mythology and mysticism from a wide range of subcultures, and, to an extent, Animism. If you aren’t doing your reading with the Eight Immortals, Journey to the West, The Legend of the White Snake, and others then you should dig in. I also really suggest watching the live action C-Dramas whether they’re true Wuxia or more Xianxia idol dramas (and in this case the idol dramas are better because the action is slower) so you can acquaint yourself with the stylized martial arts portrayals, a wide variety of choreography, character archetypes essential to motif based storytelling, and the most important aspect of all—wire work.

Understanding and conceptualizing stunt action done on wires is essential when you’re trying to visualize and create action scenes in any East Asian genre. Your first instinct might be to dismiss the stylized movement as unrealistic (it is) but remember that it’s also genre essential. Hong Kong action cinema has a very specific feel to it that’s very different from the way Western cinema structures and films their fight scenes. Even when you’re writing, you’ll want to find ways to imitate it through your visual imagery on the page.

Probably the best way to contextualize cultivators is that they’re wizards who do martial arts. They’ve learned to transcend the limitations in our understanding of reality through knowledge and study to perform superhuman feats. How superhuman? Well, it gets wild. They can be anywhere from Crouching Tiger, Hidden Dragon/Who Rules the World fly through the trees levels to Shang Tsung’s “I’m going to slam my hell reality into your normal reality because commuting to work is too much of an inconvenience.”

Which is to say, they don’t always fight ghosts. Sometimes they fight other martial artists, sometimes they fight other cultivators, sometimes they fight demons, sometimes they fight gods, and sometimes they fight incredibly overpowered monkeys. They’re often monks living in seclusion on a mountaintop, but not always. Cultivation is more of a state of mind. Anyone can do it if they learn how to absorb spiritual energy from the world around them through meditation and breathing exercises. Gods cultivate. Humans cultivate. Animals cultivate. Remember, the demons and the ghosts cultivate too. Sometimes, your master gets reincarnated as a demon. Sometimes, you do. The amount of wacky spellcasting you can do is dependent on how much energy you’ve cultivated, which is dependent on how old you are and how good at cultivation you are. Using the power means you need to cultivate more energy, the greater the spell or difficult the battle then the more energy is lost.

This is important to the question of: how does a cultivator fall?

Metaphorically? Existentially? Physically?

When we’re talking physically, wire work becomes very important. Think of your cultivator as being on wires. If they have the knowledge and understanding to do it, they can slow their own fall through the air to land harmlessly on the ground or twist over like a cat and launch themselves back off the ground to fly at their opponent in a counter attack. If they have the knowledge and understanding, they can teleport. If they lack the knowledge and understanding or want to trick their opponent, they can hit the ground like a sack of potatoes. If they’re relying on basics, they can also smack the ground to counter and spread out the impact then use the momentum from that fall to roll back onto their feet. They’ll do it no matter what terrain they’re on because it’s a basic technique that’s trained into their foundation to the point it’s a reflexive action. Any force distributed away from, and reducing impact on, important body parts like your spine is better than nothing. It’s better to sacrifice your arm than be paralyzed. At its heart, that’s the point of the technique. If you’re able to walk away with a functioning spine, it’s done its job. Your shoulder hurts? That’s normal. Your arm is sprained or broken? Sucks, but that’s better than the alternative that is paralysis and death. For reference, learning to fall was the first lesson my Wushu instructor ever taught me. It is that basic.

A lot of the time when portraying cultivators in media, the goal is to show them as being beyond the limitations of standard martial artists. How vast the gap is between the cultivator and the average human is dependent on both the setting and the cultivator. So, the average martial artist who possesses superhuman talents but hasn’t dedicated themselves to a life of cultivation and cultivators who are new to the path are going to be on the rung below and more likely to be knocked on their ass. Cultivators in the mid-range are more likely to have crafted or trained in solutions to being knocked on their ass which put them in a less vulnerable position while recovering and empowered/enhanced their martial arts. Cultivators in the top tier are usually straight up masters at spellcasting, if they deign to fight at all. Gravity need not apply. Rember, the time it takes you to hit the ground and roll to your feet is time your opponent has to launch a counter attack or move to a better position. Also, it means you’ve taken your eyes off your opponent. This is bad enough against a normal human opponent. Against another mostly immortal or ancient magic user this risks a terrible outcome.

Cunning and strategy are both as important as skill. Wisdom, knowledge, and hard work outweigh talent and raw potential. You’ll have to decide how esoteric you want to be and what limits you want to set. I really urge you to do this because the danger of power creep is real and especially prominent here. A character’s growth in power is often linked to their growth in character or their arc, as they gain a greater understanding of themselves and the world around them their skill increases. The self-discovery/self-reflection/self-interrogation/intense suffering to reach enlightenment portion is just as important and intrinsic to the martial arts portion of Martial Arts Give You Superpowers. It’s easy to focus on the Superpowers or the Martial Arts parts of the equation and miss the genre necessity of character growth. This growth often happens through heaps of steadily increasing trauma. Or, failing to undergo that by being too powerful and thus unable to progress is the joke like it is in Qi Refining for 3000 Years. (Go to hell, Bai Qiuran, you hilariously overpowered monstrosity.)

The irony is that the trajectory in character growth is the same trajectory the average student experiences when practicing martial arts. The only difference is that the power arc is inflated. This includes overcoming ingrained truths that you believe about yourself, about your own abilities, what you believe yourself to be capable of (both good and bad,) about your biases toward yourself and other people, your biases about reality in general, your understanding of good and evil, the potential upending of right and wrong, and facing the greater complexity found in the world at large. The stripping away of these illusions, coming to terms with uncomfortable realizations in a more complicated world, and the gaining of new understanding and confidence are vital to that growth.

Skill isn’t just represented in the power creep, it’s also found in a character’s sophistication and complexity in their approach to combat and life in general. Their awareness both of themselves and of other people, their ability to read intentions, their predictive abilities, their complexity in initiating their own strategy and tactics while also recognizing and countering the plans of others. It’s their insight into human nature and their cunning. It’s not enough to be powerful. The world is full of powerful people and not so powerful people who have the capacity to be just as dangerous. This isn’t Goku and Freeza slamming into each other while the planet explodes in nine minutes. You also need to be smart. It’s also not about being a better person. It’s about being a self-aware person. A person who is self-actualized. Monkey’s growth is in his awareness of the world around him through his experiences and in approaching problems differently rather than becoming less of a little shit. If you grow up in the West, one of the issues you’re going to face is thinking of these hurdles as materialistic rather than emotional or intellectual.

A lot of Western media misinterprets the concepts of “giving up” as physical sacrifice. One of the popular examples is physically sacrificing the person we love. In order to have enlightenment, we must be separated from them. We can’t physically be with them anymore. Whereas under a Buddhist structure, what we are actually sacrificing is our own ignorance, our own preconceptions, and beliefs that keep the world comfortable. Under this structure, we’re sacrificing our preconceived notions of who our loved one is. The person that we invented when we first met and we must force ourselves to come to terms with who they really are. The outcome of this isn’t necessarily going to be bad, but it’s still painful. The person we think we love could be perfectly wonderful. However, they’re not who we imagined. If we choose to hold onto the illusion we created, to ignore the realization that the illusion is the person that we love, we’ll only end up causing ourselves and our loved one more pain. We must fall in love with them all over again. Coming to terms with that is painful. All pain comes from ignorance. In sacrificing, letting go of, or overcoming our ignorance, we grow.

These are the emotional, intellectual, and spiritual challenges necessary for a cultivator because they allow the cultivator to level up. Yes, level up. Whether this is coming from the influx of gaming culture into media at large or because the concept synergizes with the Buddhist goal of progressing through the Six Realms toward nirvana, leveling up is how a cultivator’s increasing power is often depicted. Of course, once we reach the next level we can’t go back except by falling or failing and are no longer the person we once were. This then gets mixed in with Daoist principles of finding divine understanding by living in harmony with the universe. The more understanding we gain of the world, the more energy we can absorb as a result, but our original goals may be lost or changed in the process. If a character begins their journey on the path of revenge, their newfound contextualization of the situation that caused them immense pain may force them to give that revenge up or find they don’t want revenge anymore.

Failure is also an option and often a common part of the story. These stories usually follow characters through multiple lives and rebirths over hundreds and even thousands of years, especially if they’re also gods. This is the existential fall. The fall to the Dark Side. All our heroes are going to go through it at least once. This is also why a lot of Chinese media ends in tragedy with hope for the next round.

-Michi

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[gojuo]

this show went from aemond killing luke (who took out his eye) to purposely killing his brother, because of some drunken joke.

Aemond embarrassed him at the council by also speaking Valyrian fluently and Egg could barely complete a sentence, they were even!

kill a sibling and and not feeling the slightest bit of guilt He takes aegon's dagger and walks away casually as if it wasn't his full brother dying there) about it is something only the worst of the worst would do such as gregor clegane, euron greyjoy and ramsay bolton. it's sick..nothing like stannis and maekar who killed their brothers but had no happiness about it

even daemon targ didn't dare try to kill viserys wtf

we are doomed. we expected complexity between aegond and we received and we received an attempt at fratricide and regicide 😭

It's just not even remotely an interesting or compelling or sympathetic character arc or motivation to me, sorry. I didn't care for Aemond in the book, I loved him in the show out of spite, now I'm back to not caring about him bc this is just not the type of character whose development, whether it be a progression or a regression, I enjoy following. My bridges are burned 😬

Side note maybe but I've noticed how it's Daemon that's getting the sympathetic portrayal concerning his family over his narrative foil Aemond, which, in my opinion, is another aspect of the Greens Condal is taking away and giving to the Blacks that I've been harping on about in posts and tags everywhere lately.

The greatest of his rivals was Daemon Targaryen, the king’s ambitious, impetuous, moody younger brother.

Fire and Blood, p. 354.

As King Viserys had no living son, Daemon regarded himself as the rightful heir to the Iron Throne, and coveted the title Prince of Dragonstone, which His Grace refused to grant him…but by the end of year 105 AC, he was known to his friends as the Prince of the City and to the smallfolk as Lord Flea Bottom. Though the king did not wish Daemon to succeed him, he remained fond of his younger brother, and was quick to forgive his many offenses.

Fire and Blood, p. 355

Thus did matters stand in King’s Landing late in the year 105 AC, when Queen Aemma was brought to bed in Maegor’s Holdfast and died whilst giving birth to the son that Viserys Targaryen had desired for so long. The boy (named Baelon, after the king’s father) survived her only by a day, leaving king and court bereft... save perhaps for Prince Daemon, who was observed in a brothel on the Street of Silk, making drunken japes with his highborn cronies about the “heir for a day.” When word of this got back to the king (legend says that it was the whore sitting in Daemon’s lap who informed on him, but evidence suggests it was actually one of his drinking companions, a captain in the gold cloaks eager for advancement), Viserys became livid. His Grace had finally had a surfeit of his ungrateful brother and his ambitions.

Fire and Blood, p. 359.

Prince Daemon was not amongst them, however. Furious at the king's decree [naming Rhaenyra heir], the prince quit King's Landing, resigning from the City Watch. He went first to Dragonstone, taking his paramour Mysaria with him upon the back of his dragon Caraxes, the lean red beast the smallfolk called the Blood Wyrm. There he remained for half a year, during which time he got Mysaria with child. When he learned that his concubine was pregnant, Prince Daemon presented her with a dragon's egg, but in this he again went too far and woke his brother's wroth. King Viserys commanded him to return the egg, send his whore away, and return to his lawful wife, or else be attained as a traitor. The prince obeyed, though with ill grace, dispatching Mysaria (eggless) back to Lys, whilst he himself flew to Runestone in the Vale and the unwelcome company of his "bronze bitch." But Mysaria lost her child during a storm on the narrow sea. When word reached Prince Daemon he spoke no syllable of grief, but his heart hardened against the king, his brother. Thereafter he spoke of King Viserys only with disdain, and began to brood day and night on the succession.

Fire and Blood, p. 360.

After Mysaria lost her unborn child, Daemon hated Viserys. He had no love for his brother anymore and began his grooming of an 8-year-old Rhaenyra to get closer to what his biggest wish in life was: the Iron Throne.

Notice how this is not him in the show but Aemond now? The bullying + brothel plotline to make him hate Aegon is not there in the book. In contrast, Aegon, Aemond and Daeron together actually hated the Strong bastards and none of them, especially not Aegon, were friends.

The sins of the fathers are oft visited on the sons, wise men have said; and so it is for the sins of mothers as well. The enmity between Queen Alicent and Princess Rhaenyra was passed on to their sons, and the queen’s three boys, the Princes Aegon, Aemond, and Daeron, grew to be bitter rivals of their Velaryon nephews, resentful of them for having stolen what they regarded as their birthright: the Iron Throne itself. Though all six boys attended the same feasts, balls, and revels, and sometimes trained together in the yard under the same master-at-arms and studied under the same maesters, this enforced closeness only served to feed their mutual mislike, rather than binding them together as brothers.

Fire and Blood, p. 377-378.

It was Viserys actually who hurt Aemond over being dragonless, NOT Aegon.

Only the middle son, Prince Aemond, remained dragonless, but His Grace had hopes of rectifying that, and had put forward the notion that perhaps the court might sojourn at Dragonstone after the funeral. A wealth of dragon’s eggs could be found beneath the Dragonmont, and several young hatchlings as well. Prince Aemond could have his choice, “if the lad is bold enough.” Even at ten, Aemond Targaryen did not lack for boldness. The king’s gibe stung, and he resolved not to wait for Dragonstone.

Fire and Blood, p. 380.

Aemond in the book was also never characterized as lusting after the throne like Daemon was. He's always been presented as a staunch supporter of Aegon's birthright.

One-eyed Prince Aemond, nineteen, was found in the armory, donning plate and mail for his morning practice in the castle yard. “Is Aegon king?” he asked Ser Willis Fell, “or must we kneel and kiss the old whore’s cunny?”

Fire and Blood, p. 397.

The greatest danger was deemed to be Storm’s End, for House Baratheon had always been staunch in support of the claims of Princess Rhaenys and her children. Though old Lord Boremund had died, his son Borros was even more belligerent than his father, and the lesser storm lords would surely follow wherever he led. “Then we must see that he leads them to our king,” Queen Alicent declared. Whereupon she sent for her second son. Thus it was not a raven who took flight for Storm’s End that day, but Vhagar, oldest and largest of the dragons of Westeros. On her back rode Prince Aemond Targaryen, with a sapphire in the place of his missing eye. “Your purpose is to win the hand of one of Lord Baratheon’s daughters,” his grandsire Ser Otto told him, before he flew. “Any of the four will do. Woo her and wed her, and Lord Borros will deliver the stormlands for your brother. Fail—” “I will not fail,” Prince Aemond blustered. “Aegon will have Storm’s End, and I will have this girl.”

Fire and Blood, p. 400.

“You must rule the realm now, until your brother is strong enough to take the crown again,” the King’s Hand told Prince Aemond. Nor did Ser Criston need to say it twice, writes Eustace. And so one-eyed Aemond the Kinslayer took up the iron-and-ruby crown of Aegon the Conqueror. “It looks better on me than it ever did on him,” the prince proclaimed. Yet Aemond did not assume the style of king, but named himself only Protector of the Realm and Prince Regent.

Fire and Blood, p. 437.

I know people like using this passage as evidence that Aemond wanted the crown, but this is the only sentence that insinuates such a thought in the entirety of F&B, and it then also gets shots down immediately in the next sentence after. People can yap about how Aemond knows he can’t do or say anything as long as Maelor is alive, but when this one sentence—which gets rebuked pronto anyway—is the only evidence you have for that headcanon vs. Daemon who in the text explicitly and repeatedly is said to want to throne and hate his brother, then it’s just not a supported notion in the text or subtext at all.

That “‘Tis I the younger brother who studies philosophy, history and swords etc. etc.” is also nowhere in the book. This second son complex is just a show invention that used to be Daemon’s in the book now given to Aemond in the show, because of course Condal wants Daemon to be far more sympathetic in the eyes of the audience through exploring his love and guilt towards his brother and Rhaenyra with the Harrenhal hallucinations, rather than Aemond, whose actions snowballed into Blood and Cheese and who has a far better character arc lying in wait if that love and guilt he feels towards his brother post-B&C had actually been his.

Show!Aemond is such a wasted character, really. They had so much potential in him becoming an unhinged, murderous psycho falling into impatiency (reason for leaving KL and Cole unprotected) and mania (reason for carpetbombing the Riverlands) because of the immeasurable guilt he feels for what his actions have caused his family (Kinslaying!! The greatest sin in Westeros!!! Blood and Cheese!! ASOIAF’s most atrocious event that kinda happened because of him a little bit!!!)... And yes, it’s not a justification but it’s a reason for why he would do such monstrous things in the book because that’s just how a young, 19-year-old, emotionally volatile, new-to-the-horrors-of-war Targaryen prince with access to nukes would act like once he’s wholly consumed by the guilt of Blood and Cheese and war and the failure at Rook’s Rest and his brother’s disability therefore he’d become unable to face his family anymore culminating in what’s basically his suicide above the God’s Eye... His obsession with facing Daemon could have been because he feels like he has to redeem himself towards his brother for kinda being the cause of Jaehaerys’ death... but Ryan Condal does not want the viewer’s focus to stay on Blood and Cheese or else that would mean negative feelings towards Daemon and Rhaenyra are validated, and also the Greens can’t love each other and care about each other or how else can Condal portray them as fuckups unworthy of positivity so that the viewer does not get attached to them or root for them? Blood and Cheese and Jaehaerys have practically been forgotten by the Greens and the show by now. Nobody cares anymore! How many times has anyone even said his name? Uggghhhhh.

That love and loyalty the Greens feel for each other was, of course, all propaganda 🙄 Daemon in the book got his somewhat redemption through saving Nettles at the cost of betraying Rhaenyra, so fuck Condal for switching him and Aemond around and fuck Condal for cutting Nettles in order to whitewash Rhaenyra some more. And then stealing the love and loyalty the Greens had to the family and giving it to the Blacks. Ugh.

[absolutebl]

This Week in BL - it was a pretty darn good time, frankly

Organized, in each category, with ones I'm enjoying most at the top.

Feb 2024 Wk 4

Ongoing Series - Thai

The Sign (Sat YT) ep 12fin - Everyone looked like they were having a lot of fun in the fight sequences. I’m very happy for them. I’m not surprised they shot Khem and Chart. A little shocked it wasn’t also Yai, TBH.

I found this final episode rushed. According to rumors, The Sign was originally slated to be 14 eps, and it probably should’ve been. And I don’t say that often about Thai BL. But we all knew it was getting too bloated for its britches, so I'm not surprised they fumbled the ending. For me personally, it just wasn't that bad. It was fine and I was fine with it.

Tho, Billy does not look good with facial fur, messes up those gorgeous angles.

I was ultimately amused that the solution to the mythology thread was simply to talk to the river god and persuaded him to give up... off screen. It felt very old school wuxia. Or like Aeschylus or something. I did adore the stinger, Saint was basically like “I want wings too”. 

FINAL THOUGHTS

This show is literally everything (except straight) all at once. It's BL, queer, band of brothers, romcom, erotica, PNR, fated mates, police procedural, fantasy, mystery, suspense, and slasher. It’s the king of genre mash-up chaos. Sure, it's madness but there is genius in it. Was it a crazy unhinged mess +1 roll for damage? Yes. Yes it was. Did it manage to hold all those tangled threads together? No it did not. Was it also a charming, sexy, engaging, non-stop piece of entertainment? Sure thing. I think this show is basically my KinnPorsche, and frankly I’ve been chasing that dragon naga since KP aired. Is it perfect? No. But it was balls to the wall FUN and that gets a 9/10 from me.

I'm thinking of doing a full recap review (partly because I have so many great screen shots.)

Cherry Magic (Sat YouTube grey) ep 10-11 of 12 - Since this series is following the yaoi so closely, I knew these were the separation eps. (Also I knew with would be a soft non-doom ep 11, Japan rarerly does these.) I like that they used it to show improve communication and development in all relationships, but, frankly, TayNew are just best when they are TayNew together on screen. So yeah. Let’s keep them back together, please?

Meanwhile, TayNew gifted us a gorgeous loving sweet sex scene. Thanks OG for doing us a solid. 

I wanna add, it sure is fun to see New play as soft and vulnerable character, I feel like he hasn’t done that since SOTUS. 

(Read all about distribution issues here.)

Cooking Crush (Sun YT) ep 12fin - 1/3 of this is a sweet romance about a student doctor falling in love with a student chef, and the rest of it is utter dross. Look the OffGun bits were GREAT.. In fact, I think they’re better AS A PAIR in this show than in any of their other BLS. And I'm a hard sell on any OffGun being better than PickRome. Saying that, how can I review a show where I could only tolerate 1/3 of it? Because I didn’t like any other aspect of this show, no other pairs and no other plots. That gives me: 9/10 for the OffGun bits, 5/10 for everything else. Frankly it probably should be an 8 but I gotta go with my gut and it's upset about this so 7/10. Sorry boys. It’s GMMTV’s fault. Your heart was in this show, mine wasn’t. 

City of Stars (Fri iQIYI) ep 4 of 12 - These two are so good at making heart eyes at each other. It’s ridiculous. They don’t need any cartoon images or noises. Moot crush but "I wanna flirt and court more" is so flipping awesome. I love this for them… and us. 

1000 Years Old ep 2 of 12 - It’s very silly and we have been gifted with the dorkiest vampire ever. But... the smell thing makes me so happy. And I like that the vamp uses chan/nai or tan = v old fashioned. Nahlak. I love our ghost girl. Did you notice she wasn’t in the room with them but they left an empty chair for her? Also nahlak.

Ongoing Series - Not Thai

Perfect Propose (Japan Fri Gaga) ep 5 of 6 - Kai was pretty much just “you're a workaholic but I basically married you whether you like it or not.” SMOOCH. What can I say? I'm a sucker for this dynamic.

AntiReset (Taiwan Fri Viki/Gaga) ep 5 of 10 - How is this show so cute? How do they both love and hurt each other so much. They are both just scared of loosing each other. Gah.

Unknown (Taiwan Sat Youku YouTube) 1 of 12 eps - Youku dropped the first ep to their YouTube channel but I doubt we can expect that to continue. Still, it was nice to be able to watch it in a convenient way. I enjoyed it. But I am cautious about it. Of course this is possibly two of my favorite tropes of all time (stepbrothers or a variation + hyung romance). So I’m looking forward to the romantic thread, but from the gritty style, it feels a lot more like a Taiwanese short. Which means it could go very dark and may not end happy. 

Although I Love You and You AKA Sukiyanen Kedo Do Yaro ka (Japan Thurs Gaga) ep 7 of 10 - I just don’t know if the main couple should be a couple. But when they finally get around to talking to each other, they sure are lovely. Also how great is it to see a uke initiate a kiss? Even if it’s not a very good kiss. 

My Strawberry Film (Japan Thurs Gaga) ep 2 of 8 - I am still not sure about this one. I am not contesting its quality, just saying it’s not for me. Also I’m not wild about what amounts to basically a redo of everything that already happened in the first episode from a different perspective. I know it’s a tall order with Japan, but I would like (when it’s a short series) for each new installment to actually move the plot (such as it is) along in someway. Am I asking too much?

It's done but I have no time

What Did You Eat Yesterday Season 2 AKA Kinou Nani Tabeta? Season 2 (Japan Gaga) 10 eps - will binge when I have any spare time. 2024 is crazy busy for me so far.

The Servant and the Young Master - from Vietnam, it's on YouTube. I will give it a try when I have a window of time.

Began Beginning (Myanmar YouTube) - A Burmese BL? @heretherebedork vouched for it, so I will give it a watch.

It's airing but...

Dead Friend Forever (Thai iQIYI) - rumors are it's interesting but full of unlikable characters. I'm waiting to know how it ends.

Ossans Love Season 2 (Japan Gaga) - 5 years later, will anything have changed? This is Japan so… probubly not. I won't be watching this. I disliked Season one and actively hated the follow ups. No thank you.

Playboyy (Thurs Gaga) 14 eps - Dear Playboyy, it's not you, it’s me… I hate you. You’re about as deep (and as palatable) as a shot glass of cum. While I'm sure you’re someone’s kink, you're my weakest link. Goodbye. I DNFed this at ep 5. Frankly I'm impressed with myself for getting that far. Ends next week TF.

Time the series (Tue Gaga/YT) 10 eps - dropped it at ep 4.

A Secretly Love (Thai WeTV) - I tried but I can't get into my WeTV account anymore and I'm way too lazy to figure it out. Should I bother to go grey for it?

To Be Continued (Thai C3 Thailand YT) - High school sweethearts who had a bad break up reunite when both of them have full time jobs but coming out is still a problem. You can watch this on YT but it has no Eng Subs.

Next Week Looks Like This:

We're light on content right now, but frankly I'm so busy with work I don't really mind.

3/6 Born to be Y (Thai ????) 10 eps - 14 contestants who audition to compete in Born To Be Y, a program that searches for the best couple of the year to work together on a giant project. Described as semi-reality series. So I probably won't bother.

3/7 Deep Night (Thai iQiyi) 10 eps - Multiple romances set in a host clubs. Nice to see First back on my screen but this is not my favorite setting.

Upcoming BLs for 2024 are listed here. This list is not kept updated, so please leave a comment if you know something new or RP with additions.

THIS WEEK’S BEST MOMENTS

The eyes have it.

Your random BL moment brought to you by my ult-bias being a hyung smartass to his maknae.

(Last week)

[zhongrin]

cw. word vomit, short thoughts/analysis of jing yuan and zhongli's demo trailer instrument because i love them too much your honor

i've just realized that jing yuan's theme uses a guqin (and an erhu too i guess, but the guqin jumped at me more for some reason) and i want to cry because immediately my brain made the connection between the (limited) knowledge i have about that instrument and his character's traits.

from what i was taught, guqin is ancient (and i mean that man is certainly ancient too-). and while it has fewer strings than a guzheng (21 vs 7) it's actually harder to play because it has so many strict rules on how to play it on the fingering part. it emphasizes on rules and techniques, and learning a guqin supposedly means you're going to learn and follow them down to the t.

and immediately i'm reminded of how we've seen that jing yuan is a dedicated person when it comes to training and xianzhou in general. he's patient in honing his skills and he knows the importance of having the basics down. just like with knight training, as we've seen again and again while he trains yanqing. or like when he strategizes in the luofu main storyline and the wardance recently.

there's also a more 'scholarly' connotation to qins because apparently it's an instrument that elite scholars usually play, so that's already an obvious connection - we all know jing yuan is smart. he knows he's smart. and he uses that brain of his to plan beautiful, cunning things. which we all love him for.

also this is more personal to me, but guqin has a lower tone(?) than guzheng and i feel like this is why i favor cyyu's rendition of jing yuan more. that lower baritone. yes.

and then i started thinking about how zhongli's theme predominantly uses an erhu. and again. it just. fits. if you try playing an erhu for the first time, chances are, you won't even be able to make a decent sound. most people don't. i didn't. considering the fact that it's just two strings and you're trying to make a variety of sound by literally sandwiching and grazing horse hair onto them, it makes sense you wouldn't be able to. also, erhu doesn't have frets or any sort of indicators for playing certain notes, you just have to essentially be familiar enough with the instrument over where you have to place your fingers.

it's an instrument that requires patience, technique, familiarity, time. i don't know about you, but that sounds like a core aspect of zhongli's personality. and i think it's very neat.

but also interestingly enough, apparently erhu doesn't originate from china while guqin/guzheng does (as my instructor said, if it's written in one character, it's originated from china - so (gu)zheng, (gu)qin, (zhong/xiao)ruan are in, but erhu, pipa are written with 2 characters so they're out). you wouldn't have guessed it. i wouldn't have guessed it. i'm telling you, this man is keeping a secret about his origins and he's going to bamboozle us at the end game. checkmate, morax, or should i say GEO DRAGON SOVEREIー /is bonked

[countlessofvoids]

I know I'm five years late on this and frankly this conversation is really fucking annoying at this point, but I gained analytical skills just recently, got hyperfixated on HTTYD again and have few things on my mind;

There's a ridiculous amount of bad writing decisions regarding the third movie's main antagonist and even more in the entirety of the film. However in my opinion, Grimmel's character could improve even if you kept all other aspects the same by getting rid of one plot point. And that is "drugging deathgrippers with their own venom".

One the dumbest parts of THW, only beaten by Toothless & light fury's boring romance and the movie's message. But the difference between those is those at least serve some purpose. This could go unmentioned and much wouldn't change. Sure, it shows us Grimmel uses their venom for his crossbow arrows, other than that, the "slavery" aspect is useless. All it does is make him ridiculously evil. Because the audience forgot he's not nice, apparently.

What I'm getting at is - I believe a better alternative would be the deathgrippers serving Grimmel not because they're forced to, but because they want to. Make them have genuine bond like Hiccup has with Toothless.

In universe justification: Deathgrippers are said to be intelligent dragons, so they'd probably understand that working with some creature who helps them hunt is beneficial for them. And since they're pack animals, hunting also works as a bonding activity. This would be a perfect gateway for Grimmel to make them more loyal to him. They don't necessarily need to have Hiccup & Toothless' bond (although I would personaly prefer it that way). Think of it like the speedstinger in RTTE - Despite not liking Snotlout at all, it defended him against the other speedstingers because it considered him a part of it's pack.

Writing/narrative justification: Having a group of dragons take part in killing simply for their enjoyment portrays them as intelligent creatures, which emphasizes how similiar dragons are to humans. Some are assholes just because! Also it means them dying at the end isn't a horrible way of making your audience question your protagonist's morals, since in this version they kinda deserved it.

Grimmel being friends with a bunch of dragons while hating all the others gives him depth as a character - it makes him a hypocrite.

But most importantly, Hiccup and Grimmel being parallels would be much clearer. It shows how they're the same person on different paths, that he could be like Hiccup but choose not to. Or it could lead to him being a parallel to Valka. Older person who doesn't like other people and prefers living with dragons? Sounds like Valka to me!

Now this could create a plot hole with the whole Alpha thing, since in canon they don't listen due to being drugged. However I choose to ignore that because I don't like the idea of every dragon mindlessly following Toothless no matter what personality and concept of the alpha in itself.

[paintedkinzy-88]

For the rottmnt dragon au, since Leo is jealous of the others ability to fly etc etc, do the other brothers also have elements of Leo that they’re jealous over?

Or follow up question: what are some very unique traits to each of the brothers and their “species” of dragon?

…This’ll definitely get so long, I apologize in advance XD

I’ll try to highlight which paragraph is for which character, maybe that’ll make it easier???

Starting with the unique traits! To get my thoughts together hahaha.

Mikey’s the fastest flier and can make those real quick maneuvers in midair! He likes testing his limits and learning new tricks, all of which give Raph a heart attack. He’s especially proud of dive bombing, where he can tuck in to basically a tiny missile. His tail’s also the most prehensile of the bunch! I gave him the long tail as a reference to his nunchuck chains, so you bet he can grab things and hang from it. Very useful in a fight!

Oh and he breathes fire. He’s the “truest” dragon of them, which is why he’s so much more mystically powerful later on.

Leo’s very similar to Mikey, but in the water. His scales are smooth and he’s physically lean, so he’s an incredibly fast swimmer — and those fins make for quick turns! He can regulate his body temperature a lot more than his brothers, making him less susceptible to the cold, which is helpful for diving. On smaller details, he has the best sight, underwater “hearing” (like he can feel vibrations in the water), and mystic talent (meaning portals are so hard to learn, and he figured it out pretty quickly, even if it might not look like it).

Donnie may not be the fastest swimmer, with his rougher scales and larger figure, but he is more physically strong than his younger brothers. He’s technically faster than Leo, but it’s only in small bursts, giving him a sort of “ramming” ability underwater. He may not be able to breathe fire like Mikey, but it’s clear he was meant to, as he can practically boil water in his throat and mouth to spit at threats. His bite is also quick and powerful, and his lack of chest plates leads to better flexibility in general!

Raph is obviously the tank of the group. He’s stronger in every physical aspect, including his jaws, wings, hands, and, more specifically, his tail. He has the sharpest claws/spines and the most durable body as well, meaning it’s incredibly hard to hurt him or even chip his spines/horns/claws. His size doesn’t make him very fast or agile, but he’s not slow either. He’s also the one that’s sufficient in both land and water (naturally, that is, now that Donnie built his own wings), though that may be more because he had to teach himself to swim well when the twins were younger…

Now, on the “jealousy” question…

Donnie has a tendency to try and match his brothers in areas he is not as naturally talented at, specifically flying and swimming. He admires Leo’s speed and diving abilities underwater, as well as Mikey’s speed and agility in the air. He has always challenged Leo in the water since they were tots, usually trying to test boosters and the such, but has more recently taken to trying to beat Mikey in flight instead. Either way, he hasn’t beaten them much even with his inventions. At this point, he’s just using the two of them as references and a challenge, and has accepted he’d likely never get to their level. (It also doesn’t help that both Mikey and Leo have STRONG competitive natures lmao)

He also wishes he had Raph’s durability, since his scales, though rough, aren’t much when it comes to protection. That’s probably his biggest concern.

Mikey wishes he could swim in general. The little guy’s more like an eagle in the water— he can somewhat swim but is very slow and vulnerable. Imagine a doggy paddle, but with the addition of flapping splashing wings. He also likes to challenge Leo to races, but aside from Mikey sometimes having an advantage in the air, Leo usually still wins. But, aside from maybe wanting Raph’s big size sometimes, the lil dude is pretty content as is!

Raph admires his all of his lil bros’ maneuverability and size (hard to hide in a busy city when you’re an absolute giant). He’s simultaneously envious and terrified of Mikey’s fire and Donnie’s boiling water abilities, too. As much as he would love to be more like a classic dragon, he also sees the absolute disaster it can be, and has been, for the two of them. They don’t need any more fires and scorch marks in the lair, thank you. Raph’s also jealous of Leo’s quick thinking and plan-making, but is equally as proud of it.

It’s all not really on the same level as Leo and flight though… a lot of this is wishing they could do something better like their brothers, or they just accept it’s not possible and move on. Leo dreams of doing something he physically cannot do, and is willing to put his life at risk to even try and fake the same feeling… He can’t accept it. Or at least he can’t move past it.

I like to think the one closest to understanding Leo’s inner turmoil is April! She’s been hanging around these living mythical creatures for years, and the best she can ever get to their level is riding on their back, and that’s really only comfortable on Donnie. At the end of the day, though, she’s the most jealous of Leo in particular, cuz as fun as it is to fly, she’s far more fascinated with the ocean’s mysteries, and Leo’s the only one who can dive deep enough to see them.

[illegiblewords]

SOME ILLEGIBLE RAMBLES AND REFLECTIONS: THE DEAD THREE

Finished my first/main playthrough of Baldur’s Gate 3, and it’s had me turning over all sorts of ideas tied to Dungeons and Dragons lore. A bunch happens to be about cosmology so I'm slapping together one post about the Dead Three and a follow-up about deities more generally. Buckle up if you decide to proceed dudes. This is chunky and opinion/interpretation heavy. CW for mention (not extensive) of graphic violence and sex crimes during discussion of Bhaal and Yeenoghu.

MYRKUL

I get that there are multiple death-affiliated deities in DnD. Our buddy Jergal is the end of all things and the original incarnation of the concept. Myrkul stands for the experience of dying, decay, necromancy, graves, bones, and the fear of mortality. Kelemvor rules over the dead. Orcus is a demon lord and quasi-deity of undeath. Could prob go on.

I've read many different incarnations of death over the years. To set the stage on my Myrkul read, it bears mentioning that Terry Pratchett's Death is probably my favorite. I don't have it in me to see death as something totally malicious. It's very natural, and I tend to imagine that if there were to be an incarnation embodying it this persona would have an intimate view of all the love and grief, vulnerability and intimacy, ugliness and solitude, etc. that mortals deal with. Death has witnessed the end every living being faces, from the dawn of creation until now. Even if it isn't consciously accessed at all moments, death is ancient and experienced and not likely to be shocked by what mortals are capable of anymore. Mortals are small. Uncountably numerous though we are we are far outnumbered by the unliving. What are lives next to planets, to stars? Here I'd argue against assigning value according to how big or small something is, how eternal or how brief, how simple or complex. Everything that is, is a universe unto itself and deserves the gravity of that. It is also very mundane at the same time. To me, death needs to be able to balance the preciousness and commonality of life, of existence, on the tip of its scythe. Death needs to be able to deal with the most depraved beings to exist, but also with every beloved pet put to sleep. Every lost child or parent. Everyone who dies surrounded by loved ones and everyone who dies alone.

Initially, even knowing Myrkul in particular had been a mortal necromancer and not of particular moral standing--I had mixed feelings about him being the evilest of evil skeletons. He worked it well, but the idea of any aspect of death (or any character tbh) being flat evil felt off to me. Especially with 'we're all the protagonists of our own stories' being at work. People don't often look at what actions they'd consider to be evil then go 'I'm going to make myself that on purpose'. Disregarding morality maybe, but being evil on purpose is weird.

So I looked into further lore about Myrkul. One spot that gave me pause was that Myrkul as death (rather than the adventurer Myrkul Bey al-Kursi he’d once been) revels in inspiring fear of death and driving home experiences of loss. From what I found he isn't focused on the name of the individual holding the office of death, but for the force itself being feared. He can be bribed, and he will allow for necromancy/resurrections--but the fear and gravity of death is a sacred thing to him. Disregarding that is a pretty good way to get onto Myrkul's shitlist. I want to take a moment to emphasize the importance of Myrkul focusing on his portfolio over his own ego. That is far from a given in the DnD pantheon, and like I said he's a former mortal himself. It wouldn't be out of the question for him to be a petty and insecure deity. He could have been the sort of guy where becoming a god of death by itself wasn't enough power. If Myrkul was a different person, he might have wanted people to stroke his ego and say how strong he is. He might have been someone who felt inadequate as a god without that affirmation. He could have (as a character) been unsatisfied and forever wanting/dependent upon the views of others to define himself. The fact that he DOES focus on death and decay as forces rather than himself is a big deal in reading him imo.

Anyway. Myrkul's emphasis on death as something feared got me thinking about what would cause a person to put such weight on death being understood in its negative aspect. It struck me that this is actually a very common and even important thing. You don't need to demonize death to see it, either. If you value life as sacred, the idea of life being treated as cheap or disposable is horrifying. When you love something dearly, the idea of that beloved thing being defaced is beyond outrage. It's a kind of sacrilege. People who kill as casually as breathing, who revel in the permanent destruction of someone else, become a source of horror. The absence of love creates a sort of cruelty that can't even perceive itself. And it's not uncommon for human beings in particular to partake in this. Humans dance on the graves of those they deem enemies not because they're relieved to be safe, but because they glory in the end of other lives. They don't recognize that anything of value was lost. There is no tragedy in death anymore. Every gentle moment, every vulnerability, every tragedy in their opponent's life is something to be crapped on and gloated over. There is no greater insult to life itself. Myrkul stands as a reminder that such behavior cannot stand. You can't treat life or death as cheap. To see something horrific and fail to realize the weight of its horror is itself a form of horror. The idea of a death that demands to be acknowledged for what it is, particularly by the living, imo actually denotes a level of care for life too. It might be harsh or ugly, but I don't know about evil. So while Myrkul is certainly flawed and often serves as an antagonist, I’d argue the function he performs is not only important but necessary.

And while it might vary between players, I found Aylin's enthusiastic executions and body defiling pretty uncomfortable. I understand she went through a lot and am fine with her as a character. But I think Myrkul's point stands if the audience feels even a moment of disquiet seeing her celebrate over the corpse of a broken person.

Some things are meant to be ugly.

BANE

Of the Dead Three I find Bane the most disturbing and dangerous tbh—but not for how Gortash invokes him. Way I see it, the other word for tyranny is authoritarianism on a macro-level, abuse on an individual level.

I’d argue that in life, we can only healthily control ourselves and our own individual actions/choices. We can try to persuade others or appeal to their judgment, but we can’t MAKE another person think or act how we wish. When folks attempt otherwise (individually or more broadly) it involves fear, force, deceit, or other forms of pressure. Coercion, enslavement. These fall under the umbrella of tyrannical practice to me. You treat another person as subhuman and strip them of agency.

We don’t live in a pure and ideal world. If a tyrannical person is committing crimes and denying others their free will through force, I wouldn’t call defense through force tyrannical as long as it wasn’t needlessly excessive. Power struggles exist. But the whole practice of using fear, force, deceit, or pressure to control another person is dangerous imo. They're to be utilized as little as possible.

In DnD I don’t think the fringe evil cults would be the ones most at risk for corruption by Bane. I don't think individuals or groups who prioritize self-indulgence would be most at risk, either. The most dangerous and frequent disciples of Bane imo would be within good alignment. This means followers of benevolent gods as well as the nations or groups that consider themselves to have righteous causes. ESPECIALLY those with chips on their shoulders.

When someone assumes they have and always will have the moral high ground, that they are incapable of committing injustice, that their end justifies whatever means, that it doesn’t count as abuse with the 'correct' target… that, to me, is where tyranny festers. The person convinced of their own moral infallibility is the one who sees no need for brakes and so cuts them without concern.

I’d argue everybody has a seed of tyranny in them that can be fed or starved. We feed that seed with our own indignation to become a tyrant victimizing others while still seeing ourselves as powerless. The person who first victimized you can still also be victimized by you. There isn’t a target that exists where finding joy in cruelty gets a pass.

Bane, I think, thrives on the idea that it's no problem if you're enforcing your will. Especially on people contemptible to you.

For DnD purposes, imagine you have zealous followers of idk Tyr. They are willing to do whatever it takes to enforce and spread their definition of justice. They believe in making examples of people at every opportunity. They torture, isolate, rob, and shame those they consider to be unjust or dangerous. If their victims are falsely accused—well. It’s for a noble purpose so the sacrifice is not in vain. And imagine Tyr abandons these followers as hypocrites. He no longer empowers clerics or paladins no matter how they cite scripture or brand ‘heretics’ with his symbols.

Bane doesn’t enter calling himself Bane, god of tyranny. Bane claims to follow a higher justice. Maybe he uses an avatar, maybe he chooses a Banite disciple, maybe he finds a true believer. But he argues that Tyr as an individual was never ultimately what those zealots stood for—it was justice itself. And if Tyr has turned traitor to his own portfolio, mortals need to go over his head to the core concept and implement that. Bane offers a name that suits his purposes and begins sourcing power to clerics and paladins instead. And throughout, as the zealots commit increased atrocities against those they deem dangerous or evil they fail to realize they’ve spiraled into evil alignment after all. They’d think they were either just as good as they’d always been OR BETTER. The compassion of Ilmater is spent on the depraved and corrupt as far as they’re concerned.

I think the real threat of Bane is that he should be 100% capable of corrupting an otherwise heroic party member if they aren’t wary of that capacity in themself. You suddenly find your friend who listened to your problems and supported you through awful shit mocking a person sobbing on the ground as they kick them. And that friend looks betrayed and hurt (or outraged) if you challenge their actions, because they think you should know exactly how disgusting this piece of shit is and how much they deserve the abuse. And even if you concede that individual case—it’s not the only one. The slights worthy of torment become smaller and smaller. A thought or word out of line betrays the ideology of an evil alignment, with the only solution being to beat thoughts and words out of the target until they can only repeat approved ideas back. And even then, it may not be enough.

If it was explicitly confirmed that the deity the zealot followed was Bane all along, the zealot might genuinely not believe it. They might get pissed at the very suggestion. What they do against the wicked isn’t tyranny after all. They’re righteous.

Denial doesn’t serve to disempower Bane in the least if tactics remain unchanged.

BHAAL

I’m holding off on more detailed Bhaal thoughts until I complete a dark urge run, but I’ve listened to lore on both him and the demon lord Yeenoghu recently—and I think there’s room for a really cool potential contrast.

Yeenoghu Lore

Providing this particular video link for the curious, as a way to help illustrate what I’m drawing from.

Yeenoghu holds the title as demon lord of slaughter. He glories in filth, rape, excessively graphic murder, torture, violence, and playing with corpses along the way. He’s meant to come across as a bestial, self-absorbed, remorseless desecrater. And when I say bestial, I want to draw attention to a particular IRL factoid that might be worth considering.

I love animals to bits. I don’t think animals generally contemplate morality the way humans do just due to cognitive differences and limitations. I also think it’s important to remember that humans are ALSO animals, so certain things umbrella’d under ‘human experience’ would probably apply to at least some animals too. If there are human altruists and human serial killers, we should be able to expect that animals likewise have some altruists and some serial killers within the scope of individual variation.

Cruelty is not exclusive to humans. Orcas will essentially torture smaller animals to death by flinging them into the air with their tails repeatedly like balls until repeated beatings and suffocation kill them. Dolphins commit rape and chew on live puffer fish to get high off the toxins. Chimpanzees are a horror unto themselves with cannibalism and mutilation and basically whatever atrocity they can commit. Wolves and cats sometimes hunt to excess just for the joy of it and don’t eat all they kill. Hannibal the swan (as a specific and notably homicidal individual) beat and drowned any other swans visiting his pond and showed his signet how to do it. I could go on. Some cases it might be a matter of the animal not having theory of mind to recognize that they are inflicting pain on another conscious creature. Other times, like with pissed off chimpanzees, they know EXACTLY what they’re doing and it’s on purpose to cause maximum suffering.

I think Yeenoghu should embody a little bit of both propensities. He’s just utterly self-absorbed and doesn’t give a fuck about the experiences or perspectives of other living things except insofar as they impact him.

Bhaal I want to research more like I said, but one thing I remember from my initial play through was finding a note from the Dark Urge to Orin.

Little sister, whatever in the Gray Wastes are we going to do with you? Bhaal will never care that you waste your time, posing your corpse-dollies. Bhaal doesn’t care whether you give him the corpse of a pauper or a king. At the end of the day, all Father wants is death in droves, death in numbers. To sap away the life of this dull world as swiftly and widely as we can. You plan, you plot, you prevaricate, and you waste his time. Bhaal doesn’t need us to think. He needs us to kill. You kill beautifully, and have talents in your shapes’ magics that I never will. But you do not understand Lord Bhaal. Perhaps it is a failing of your diluted blood, as a mere grandchild. I am his sole living pureblood. I will accept no challenge from you, until you show some damned respect.

To be honest this is interesting af to me because it positions Orin a bit more in-line with Yeenoghu’s modus operandi in some ways. But what sets apart the principles of Bhaal from Yeenoghu or Myrkul?

The Dark Urge suggests the goal of Bhaal is the extinction of all life, but to be honest I’m a bit skeptical. Seems like short term thinking. Even if Bhaal pulled that off, once it’s done there is no more murder or god of murder for that matter. If Bhaal is aiming for a cessation of existence and wants everyone else along for the ride maybe that’s what he’s after, but I dunno. That seems like something fans/players/loremasters would have touched on before.

I’d like to invite this possibility for foiling instead:

Life consumes other life by nature. Animals, plants, fungi, bacteria, so forth—it isn’t just a matter of philosophy. One life cannot exist without destroying another. We need to eat. If we don’t, we die well before reproduction enters the picture. But it’s more than that… you take a step, you kill countless tiny organisms you aren’t even aware of. You swat a fly. You hit something with your car. You move gracelessly or touch carelessly, and catastrophe ensues. Etcetera.

It is inevitable that your existence will mean the end for the life of another living thing. That’s just how it goes.

It could be interesting on a LOT of fronts (both as members of the dead three and as former adventuring companions) if Bhaal acted as a kind of philosophical opposite to Myrkul the way I previously described.

If the Dark Urge’s note is to be trusted, Bhaal has no interest in ritual or glorified death per se. Bhaal would be more about the mundanity that comes through the act of killing. Life is fragile as-is and often ended by accident. Killing in its most common form is thoughtless and unconscious. To Bhaal, if every life is a universe then the universe looks meaningless. There is no importance or fanfare to any of it. If one side is ‘everything matters, give weight to life and death’, Bhaal would be ‘nothing matters, we are not capable of affording reverence to every single life and death we encounter’. More specifically, the mass deaths Bhaal favors would be a kind of illustration of the uncaring and casual relationship living things have with killing other living things. The more casual and effortless it is, the more I’d imagine it serves Bhaal. Sadism and revelry miss the point—there is no hierarchy. Suffering is inconsequential. Fear is inconsequential. Instinct is inconsequential. To live is to kill by Bhaal’s logic.

It isn’t limited to murder in the sense of a member of one species killing a member of the same species. It’s more Bhaal is the god of killing. He’d gain power from murder too sure, but also hunting, harvesting, and butchering. With these interpretations in-mind, we can actually figure out how the Dead Three might have answered Jergal's question about what worth a mortal life holds. With the disclaimer this is very much conjecture. I think Myrkul would likely be "Each life is of infinite value and merits sacrificing everything for." That lends life a heavy weight and makes death a fearful force for all. It would also mesh with Ketheric as his chosen. Bane would lean into "That depends on a person's deeds", "The only life that matters is mine", or "Depends on the mortal". From those positions, the speaker argues for a hierarchy of life where some is more expendable than the rest. It's easier from that position to slide into adopting a role as judge and executioner, and from elevating yourself into a role of authority where other voices and experiences count less than your own. Bhaal I think is reflected in "Life’s only value is as currency. Doesn’t matter to me otherwise", "The only life that matters is mine", or "No one life is worth more than any other. We are equal." Bhaal has the implicit question in-turn: what is the blood-price of your own life? How much have you claimed in your own name to keep moving? It's kind of the belief that while "The only life that matters is mine" is Bhaal's answer, every other living thing should be answering the same way. There's more nuance than that of course, and likely truth falls somewhere in the middle. We aren't mentally capable of giving reverence to every death, but we can recognize in general terms and do our best case-by-case. We have a right to protect ourselves and what we love, but others share that right.

Feel free to offer different stances or thoughts though, and if you made it this far goddamn thank you for reading this monster.

[therealbarombunny]

The JingHeng brainrot is getting to me so, hears my explanation on why it's canon.(Kinda of a joke lol)

First and foremost;

The obvious color matching palettes, especially when you invert any images of them. And how they both equally work together and mix well together.

Secondly;

The dragon and lion (+phoenix) symbolization, it's obvious by now that Dan Heng is a dragon and Jing Yuan has some sort of lion resemblance. And yada, yada and whatever. But it should also be known that both technically have phoenix symbolism, like how Dan Heng's waist wrap looks to be representing the tail feathers of a fenghuang(phoenix ), and how Jing Yuan in the final beta trailer was shown in the Palace of Astrum with a back drop of Phoenix. And in Chinese coupling mythology/symbolism dragon- Phoenix imagery represents, complementary wedded bliss between spouses.

Thirdly;

In mainly official arts, these two are often usually paired,

(countdown day official art, which oddly when put together, looks like a heart/yin yang. It also has the numbers 5 and 2, in which, some Chinese players have noted a slang number “520” which phonetically resembles “Wo Ai Ni” or in English, “I love you.”) (cited from the JingHeng fandom shipping wiki. Art made by someone on the hoyo art team idk.)

( Official promo art of Ver 1.2.) (Again, cited from the JingHeng wiki.) (made by whatever hoyo art team employee.)

(And of course, the infamous Hoyofair art.) (Cited once again from the wiki, I do not remember who it was made by however. By credits to the artist.)

Now there is much more, but I don't want my phones storage to die so I will be moving on to the next topic.

Fourthly;

The leaves/plants that they are represented by, we all know Dan Heng is represented by maple leaves and how Jing Yuan is represented by ginkgo leaves. Both these leaves have themes meaning “eternal love”.

Last but not least;

Both of their characters have similar design/lore aspects that can be related to each other, like how in Dan Heng's 4★, he has a singular red marking under his eye and none on the other. And how in Jing Yuans design, he has has a mole placed under the same eye Dan Heng's red mark is. While his other eye is covered up. And how in Dan Heng's 4★, he follows the path of the hunt, while Jing Yuan is the emanator of the hunt. Also, Dan Heng's weapon also has a yin-yang like ball/sphere in it. While Jing Yuans has a circular hole in the same spot.

Anyways, this was just my insane ramblings/rantings on how I believe hoyo is subtly hinting at JingHeng being canon.

Thank you for reading, and I hope you have a nice time thinking about this. Buh-bye! (⁠＾⁠∇⁠＾⁠)⁠ﾉ⁠♪

[felassan]

New today from Game Informer: 'Bespoke Armor, Transmog, And Other Aspects Of Gear In Dragon Age: The Veilguard'

"Dragon Age features a ton of different customization options. Just within the character creator, there are hundreds of options to customize things like hair, body type, what your playable character Rook's face looks like, and so much more. There are also a ton of armor options, too.  Companions have an armor slot, a ring slot, an accessory slot, and a weapon slot, while Rook has access to even more – a helmet, two weapon slots, a belt, an amulet slot, and two ring slots. A belt having its own slot might sound odd as it's not an armor piece people typically think of when kitting out an RPG warrior. However, the belt is an important facet of Rook's kit. The better Rook's belt, the better the potency of their healing potions, which are replenished by destroying green pots scattered about the world. That's not all, though, as higher-quality belts can proc [editor's note: proc is a term used as a shorter way of saying "programmed random occurrence"] additional effects like momentary invulnerability.  When creating your character, you can immediately view aspirational armors, which won't play into Rook's class until the "mid-to-late game," according to game director Corinne Busche. You can also toggle Rook's starting gear and casual wear in the creator, giving you a pretty good look at how Rook will look in more laidback cutscenes, in combat, and how they might appear later in your Veilguard journey. Busche tells me a lot of the gear in Veilguard is bespoke to your Rook or their followers, which is to say, an armor piece for a Warrior-class Rook probably won't be in a chest for a Mage-class Rook. On a similar note, armor designed for companion Bellara Lutara can't be used for another companion like Lace Harding. In just my few hours viewing Busche play the game as part of my visit to BioWare's Edmonton office for our current Game Informer cover story, I see a lot of armor to collect from things like chests scattered about Arlathan Forest, for example, and elsewhere. Some of it looks awesome, and some of it doesn't quite line up with my personal taste. That's how it goes in the genre of RPGs. However, Busche tells me there is transmogrification, or transmog for short, in the game, and calls it "robust." This means you can take an armor's stats and apply it to a different piece of armor. In other words, if you have a really cool piece of armor you like and find a new piece with better stats but don't want to give up the look of your current armor, you don't have to. Transmog allows you to take that new armor's stats and apply them to your current armor, giving you all the benefits while keeping the visual style you prefer.  Transmog isnt just for Rook, though; you can transmog armor and other things for your companions as well. I don't get to see how Veilguard's transmog system works in-game, but just knowing it exists allows me to rest easy knowing my Rook will look as fashionable as possible while saving Thedas."

[source]

[anneapocalypse]

6 and 8 for Dragon Age! Choose violence!!!!

🔥 Choose Violence Ask Meme 🔥

6. which ship fans are the most annoying?

I'm gonna be perfectly honest: I have drawn my little circle of Dragon Age fandom such that I really don't find any shippers annoying. I also basically like all of the canon romances I've played on some level and there are none that I have a visceral Nope about, and as far as non-canon romances I cannot find it in myself to get bent out of shape about rare pairs, which is what most non-canon ships end up as, realistically.

My hot take is that in this fandom, anyone who leads with "X shippers are the WORST EVER--" is about to be far more annoying than any of the shippers I know.

8. common fandom opinion that everyone is wrong about

Wicked Eyes and Wicked Hearts is a good quest.

In many ways, I think it's actually comparable to playing A Paragon of Her Kind as a non-dwarf. In both quests, people often complain about not having access to all the information about the candidates, by which they mean that the game does not hand them a piece of paper explaining to them why one candidate is the Good One and the other Bad, what's that noise oh it's me banging trash can lids together in your backyard and hollering THERE IS NO SUCH THING AS A BENEVOLENT MONARCHY, THERE IS NO GOOD MONARCH, POWER THAT CONCENTRATED CAN ONLY BE SUSTAINED WITH BLOOD, ALL YOU CAN DO IS DECIDE WHICH ONE IS GOING TO DO THE LEAST HARM AND/OR IS MOST EASILY MANIPULATED BY PARTIES YOU WISH TO SUPPORT.

Coughs. What I mean is, the frustrating lack of information given to you, an outsider, is kind of the point. No matter who you play as the Inquisitor, you are canonically not Orlesian and you do not know the Imperial Court intimately no matter how politically savvy your character may be. You are an outsider, and to many people a dangerous one. You are here as a guest; you were not invited with the intent of letting you choose the ruler of a sovereign nation, and people are not simply going to hand you information to that end. Even some of your advisors may have personal motivations for withholding information that you would have liked to know, perhaps because of their own involvement or complicity in certain events. You know. Perhaps.

So you have to do your own digging. You have to climb trellises and sneak into locked rooms. You might get lucky opening the right doors and finding something really useful, or you might not. You might say the right thing to the right person and get a valuable lead, or you might fumble it never knowing what you could have had.

We love to poke fun at the RPG tropes of every NPC immediately giving you their life story and asking you to solve all their problems. Isn't it kind of interesting when a game doesn't do that--when you have to take your own initiative if you want a specific outcome, when other characters aren't just dumping information on you and assuming that you'll act on it in a specific way?

I think one of the most interesting aspects of WEWH is that you can in fact choose to do nothing. Yes, you have to follow the basic outline of the quest, but at the critical moment you can just not intervene and allow Florianne to stab Celene and Gaspard to take the throne--effectively, letting things play out as they would have had the Inquisition done nothing. Gaspard of course winks and treats you as an ally because you assumes you're complicit, but you could in fact just have been indifferent. Game mechanics make it obvious you're making a choice, but in-universe it's simply that you have chosen not to act.

And if you do choose to act, you do not get a guaranteed Good Option. No, you don't get to flip the tables and completely overturn the social order of a sovereign nation of which, again, you are not even a citizen. You have to work with the situation you're in, and try to bend it to whatever advantage you see fit. You get no guarantees.

Sure, there a few places where I think WEWH fumbles the ball, but on the whole I think it's a brilliant union of storytelling and creative game mechanics.

[cottoncandy-cult]

Fond Memories

Sesshomaru X 1/2 Demon! Reader

Won't lie Sesshomaru had some of my favorite character development in the show, he went from hating humans (Which he did have a good reason, as much as I don't hate Inuyasha's mom she was still a homewrecker, and I don't care how much the spoiled princess loved the dog demon daddy when she became aware of his first son and wife, she should have at least tried to be reasonable. I honestly am kinda miffed at Toge for sleeping with her too, but at the same time it's a passive irritation since Sesshomaru's mom didn't seem mad anyways so it may have been less of a secret family and more of a secret harem MAYBE) but he went from hating humans to raising a little human girl and declaring that nothing was worth her life.

Also, the kids are named after characters I enjoy, Seizou is from Basilisk Ouka Ninja Scroll (The basilisk is not for the faint of heart, easily triggered or those with sex-based trauma. It's a very dark anime, highlighted by the historical accuracy sprinkled throughout including some of the darker aspects involving certain behaviors), Kaoru is named after the main female and love interest of Rurouni Kenshin and I can't remember who Sanabe is named after. I wrote this years ago and watch a lot of shorted somewhat lesser-known anime. I'll probably remember later.

Sesshomaru walked quietly down the dirt path, it was a bit late in the day and he was searching for a place to camp so that Rin and Kohaku could rest. They, along with Jaken, and Ah Un, followed the dog lord. Though they quickly came to a stop at the rustling of something moving through the woods, Kohaku was quick to push Rin behind him. Though to their surprise a young woman tumbled out of the brush, she was battered, and her scent told the demons of the group that she was half demon. When she took notice of them, she tried to push herself up and move away, absolute fear on her face. "It's... A girl..." This beautiful statement slipped from the mouth of the little green imp; Rin simply giggled. Sesshomaru simply watched the girl, that was until a voice could be heard from the direction the girl had been running from. "My sweet little songbird, if you continue to try and fly away, I'll surely have to clip your wings." The girl seemed to freeze, they barely caught the look of terror on her face before she managed to force herself up and try to run away.

Sesshomaru looked back towards where the voice came from, right as his golden gaze reached the brush line a vine of thorns had burst free and grabbed the girl by the ankle. She was yanked into the air and slammed down, her arm giving a sickening crack as it made contact with the ground and the young half demon had fallen unconscious from the pain that wracked her whole body. He was quick to sever the vine, with Rin being there he didn't want the girl to watch the battered woman die. "Jaken take Rin away from here."  The young imp was quick to obey, but Rin paused. "Are you gonna help her Lord Sesshomaru?" Her chocolate gaze flitted to the unmoving woman, the woman seeming to barely breathe. Sesshomaru had looked to Rin, then gave a sigh. "I suppose... She's obviously incapable of protecting herself..." Rin had immediately perked up, hoping the woman might even come with them so that she wasn't the only girl in the group.

"Come on silly girl, we need to get going!" Rin was quick to follow the imp and the two headed dragon after that, Sesshomaru having proceeded to approach the unconscious woman. He took in the sight of her (H/l) (H/c) hair, matted and tangled. Her (S/t) skin was bruised, some scars here and there. She was likely some kind of servant or slave, but even still something about her interested him. Though being in such poor condition he could still say that she was pretty, maybe in a perfect state she could even be considered beautiful. He had witnessed many beautiful demons, but she was different. Maybe it was because she was half demon, because she is almost like a forbidden fruit. Exotic, rebellious, her very existence was considered a sin to both humans and demons. His thoughts were interrupted when what appeared to be an older monk stumbled out of the woods, but he was not tricked by this illusion. By scent alone he knew it was a serpentine demon in disguise, when the lesser demon took notice of him, he smiled.

"Hello there young man, do forgive me I'm afraid I was lost in the woods for some time." His voice was like that of a regular human male's, but Sesshomaru didn't miss how the man's eyes glanced back and forth to the woman and himself. Sesshomaru could only smirk at the demon's pathetic facade, knowing the demon had likely recognized him and was debating on running. Unfortunately Sesshomaru didn't care, simply cutting the creature down as he wasn't worth communicating with. As the demon's corpse turned to ash Sesshomaru turned his attention to the girl, kneeling down to look at her. 'Well Rin is still a little girl... I suppose she does need a mother figure.'  And that was that, with his choice made he carefully lifted the woman into his arms and carried her off as he followed the scent of the ever growing group he was making.

-

-

-

"And that was how I met your father." The woman's voice had faded off, she sat on the outer porch of the home she shared with her husband. Her (E/c) gaze shifted to the three sets of curious eyes; these eyes belonged to 3 children 7 years of age. It was 4 years after they met that (Y/n) and Sesshomaru had been wed, it wasn't long after that she was carrying his 3 pups. 2 little boys and a girl, all 3 were beautiful in their own right. "Mom! You can't stop there, it doesn't count! That's when you first saw him, what about when you woke up!" This was her first born, Seizou, he was an exact copy of his father and she adored that because he was such a mommy's boy. "Yeah, what about when dad asked you to be his!?" This was her little girl, Kaoru, the girl's long hair was a mix of her mother and father's as it was like a pastel (H/c).

"Tell you what, how about I tell you those after dinner. Your father and big sister should be home soon." 2 out of 3 children whined, her middle son had simply nodded. Though Sanabe looked just like his mother he idolized his father, so he was actually more mature than the other 2. "You two aren't hassling mom, are you?" Rin had approached from behind, hands on her hips and pouting. She had grown into a beautiful young woman; she made the early years of parenting so much easier. Sanabe had looked to his older sister and smiled slightly, he tried to be stoic but in reality, he was just shy and putting up a front. "Hello Rin, I take it things went well?" Rin had gone to gather some stuff from the forest while Sesshomaru cleared the demons out from the forest around their home, he did it every so often to try and ensure their safety. "Yeah, I got a bunch of herbs and wild fruits. Lord Sesshomaru went to your room to take off his armor."

(Y/n) listened and moved to stand, giving the girl a smile. "Wonderful, why don't you three help Rin bring in the pouches. Perhaps we can use some of those fruits for tonight's dessert." The mention of a sweet treat had the three gone, making Rin giggle and go to make sure they didn't mess anything up. (Y/n) proceeded to the room she shared with her husband, finding him in just his hakama as he was about to put on the top. "Hello, my love, I take it the forest is safe now? The children wish to visit the waterfall." She closed the door behind her, moving to help him place his top on. It was not that she had to, but between them it was like subtle affection. He could be somewhat affectionate behind closed doors, out in the open he displayed his love in ways some might miss. But she never did. "We can take them tomorrow morning, it's been some time since you all have gone swimming." He always went with them, even if he didn't get in the water he'd sit at the edge and watch over them. He may not have been the most adoring husband outwardly, but his family always knew that they were loved.

[lucyfloyenworkshop]

Awakening the Dragon : Malleus Draconia Overblot Theme

It's been now one year since Diasomnia Arc, “Ruler of the Abyss“ began...

There so many things, too many topics that I wish to talk and write about. About the tribute to Eyvind Earle's art in the esthetics and ambiance of Briar Valley. About the connections between the Arc narrative and its inspirations. About Night Faeries folk and Silver Owl Knights. About Silver, Malleus, Lilia and all the others characters... For tonight I will write down about Malleus Draconia's Overblot Theme.

When the Diasomnia Arc pre-trailer was released, some notes of Overblot Malleus's theme can be heard. The complet musictrack had been finaly revealed during the first fight against Malleus. Even with the few notes in the pre-trailer, this music really give goosebumps. It is dark, eerie, dangerous and yet graceful and noble.

Diasomnia’s Chapter is an intense turmoil of emotions and, after all that happened in the Main Story so far, I realized that Malleus Overblot's theme not just represent the Arc's climax like it had being the case for the six previous Chapter. Not just only about an epic battle music, but also about a character.

[Beware : the following post content some spoilers for Chapter 7 : Ruler of the Abyss]

Featuring song and music

There is something about Malleus and music.

In his personal data, it's say that his “talent“ is stringed instruments's practice (ref. Twisted Wonderland : Magical Archives and in game data). According to his close relatives, such as Sebek during “Harveston's Kelkkarotu“ event, Malleus appear to be a really talented musician. And yet that aspect of Malleus wasn't fully explored in the Main, Events and Personals Stories. That was just a fun fact about Malleus's hobbies outside school or his daily royal duties.

Then came the performance of Malleus longside Idia and Azul during the Symphorium in the Halloween event Glorious Mascarade : Crimson Flowers and Bell of Salvation.

It's could be logical since Diasomnia Arc and Mascrade's events released their preview trailers around the same time. But nothing could make us suspected how much deep of that aspect of Malleus's character design is important. Not just as for characterization but also a tribute from Sleeping Beauty.

But to go with Chapter 7 and the Overblot's theme, let's return to the Symphorium, during its preparation as presented in Malleus's Mascaquerade Dress Personal Story [link]. Glorious Mascarade's iconic song Let My Wish Resound ( Twst wiki's traduction [link] ), is the gift of Night Raven College's students to the invitation for Night Bell College's Symphonium and its three main singer featuring Azul Ashengrotto, Idia Shroud and of course Malleus Draconia. In Malleus's Personnal Story, the trio are gather in Diasomnia Lounge for practicing. Both Idia and Azul (and even Lilia), are amaze about Malleus's singing skills. Not just because of his tense practicing, even outside his royal education as confirm Lilia to Idia. If Let My Wish Resound had a special signification for Malleus and his character (his desire and fear about connect with the Outside World and meeting other peoples), the fact that such song, and by extension the music, resound deep within Malleus.

In Chapter 7, that particular bond between Malleus and music/song is once again up under the lightspot, and even become an major element of the narrative. Just after he took his Overblot's form and cast [Fea of Maleficent] on everyone, Malleus start to humming a lullaby. The medley is the one of Once upon a Dream, Sleeping Beauty's famous and iconic song. There is many things that need to be discussed about that familiar medley and Malleus's story and personal journey and I will in the futur write a proper and complet review about. For now, we can notice that reference make not only as a tribute to the original animated pictures movie but also to Malleus's paradoxe as a character in that very sequence, and, even if it is more subtle, in the rest of the story. Indeed he is now a Dark Fea Lord, becoming in a way Maleficient just like Riddle with the Queen of Heart or Vil with the Beautiful Queen. And yet there is that lullaby medley, that medley which took after Princess Aurora's song. Malleus is depicted as both Light and Darkness, an impression that can be found in his Overblot theme.

The Choir and the Cello, picturing a story

There is two main musical elements in Overblot Malleus' track. The Choir and the Cello.

If is true that in the previous Overblot’s theme, a kinda choir is used in the medley, but its seems to have for fonction to put some extra more tension in the music like we can see in many soundtrack from cinema or video-game, but in the others Overbolt's theme, the choirs doesn't lead the medley. The instrumental instruments does.

But that was before Vil's Overblot and Mascarade Event’s theme, where the chorus and choir became the main leading of the music. In a kinda latin language with Dies Irea's leitmotif, choir become the medley's core and identity.

In popular culture, the choir is generally used as reference to Medieval Age’s music and its esthetics, real or dreamed . From Historical productions such as in Kingdom of Heaven (a Historical Movie setting during the early years of the Crusades) to Fantasy realms Lord of the Rings’s trilogy, we can tell that kinda of music had a special power to increase emotions and ambiance in a song.

In Overblot Malleus's theme, the choir became an extension of the Dragon-Fea’s power and personality. Giving to his character so much strength and presence, just like with Davy Jones's organ and it make a tribute to Sleeping Beauty’s soundtrack. One of the particularity of this Classic Disney Animation Picture, it's one of the very few movie from Disney's Silver Age, than doesn't have song like we see it in Cinderella or in Alice in Wonderland. As explained by cinema historian, Charles Solomo, in the documentary Picture Perfect: The Making of Sleeping Beauty [link], those kind of “Broadway like song“ doesn't fit to that world made of the gorgeous detailed background designed by Eyvind Earl or the music score inspired by Tchaikovsky's Sleeping Beauty Ballet. Only songs in the movie are Once upon a Dream and choirs. Theses ones can be found in several track in the score. One of them, “Aurora's Return/Maleficent's Evil Spell“, is in my opinion, one of most powerful and representative of that directive for Sleeping Beauty's music. At one point of track a eerie and dark voice can be heard and as its materialize Maleficent's presence when Aurora is hypnotize by the curse.

Those choir segments supporting the narrative and characterizing each protagonists. Just like it's happen with Malleus's Overblot theme !

In Malleus's Overblot theme, alongside the choir, the second main leading instrument is the cello. The using of that particular string instruments in the track make a easter egg to both Malleus’s personal talents as to Diasomnia Dorm's music theme.

Cello, as other stringed instruments, are very often used in movie, video-game or musical composition because of a rich palette of tones and sounds that those musicals instruments can create and so increase emotions. Notes created by cellos are know to be rich and deep, and how depending how it played, it can express joy and light ambiance as epic, nostalgic world, mysteries or tension and terror.

The slight presence electric guitar (recurring in the Overblot music track) give an extra sensation of danger and tension in the medley, but without shadowing the leading of the chorus and the cello. It sound like lightings bolts, and each time the electric guitar is heard it increase choir's powers in the narrative of the medley with attacking notes. Giving the feeling that we are caught into a storm.

Conjuring the Dragon

As we start listening Malleus Overblot's theme, we fall into some dark or gothic fey world, more that Diasomnia Dorm's. Despite the presence of a electric guitar sound, the music had the same feels as Maleficent's themes from Sleeping Beauty. In fact the very first notes are very similars or at least sharing the same tones than some of Maleficent's leitmotif in “Aurora's Return/Maleficent's Evil Spell“ or in her music entrance.

The musictrack is divise in five segments. First, it start with a very aery voice sound, as we can found in mysterious or dark music track and then the storms began, leading by the choir. With the cello and the electric guitar, its give at that moment (and is reinforce in game by the image of Malleus in his Overblot form), that we are facing some kind of powerful Lord or a Dark Dragon. Malleus had a very complex personality and as far we know, at his core, ins't a evil character. But he is a Dragon-Fea and he had dark powers. If someone put in danger the persons he will care about (friends, family...), he will riposte with all his might and once of thoses times where Malleus's powers are show as dangerous and dark because its are beyond mortal understanding and standard, not as evil. It's true that consequences of some Malleus's actions are terrifying because of his non-human nature and can show him as the Dragon, the most dangerous foe of tales and legends, as the storm parts of the Overblot music despict it.

And at the middle of the music track, just between the two storms part, for a brief moment a calm, noble music segment is played. Its the same medley than the rest of the track but the tone is completely different as tone and ambience from what had been previously heard, even if there is still a certain tension in it. In fact Malleus Overblot's theme where there is a such calm. Yes it's true that in Leona Overblot's theme there is a kinda of “pause“ in the music but the same amount of epic tension. It's sound like if the character taking a short break, checking if everyone is is okay before return to battle. In Malleus's if we got same general medley but the music tale an other aspect of that character, of that Dragon, at the opposite of the Dark Dragon previously depicted. In that segment, the cello leading the music instead of the choir which became calm like lamentation, giving a powerful, melancholic and noble ambiance to the music before the storm restart and end once again on the eerie voice and notes.

That melancholic noble music caught in the storm show all the balance between light and dark that Malleus carries with him during his personal journey. Give him an aura of nobility and danger as we can found it in the Malzeno's theme or Elder Dragons ( Amatsu, Alatreon or Shagaru Magala) from Monster Hunter for exemple.

Right at the beginning and at the end of the track we got some slight but clear notes of piano. Like cello, that chordophone instrument (musical instrument that use both stringed and percussion (ref, Britanica)), can create intense and emotional ambience. It's true that I wished to heard some organ note in that music track, which could fit to the medieval gothic leitmotif of Diasmonia Dorm but I think it would change the characterization of Malleus in the music track. Organs are, in popular cultures and soundtracks very very bond to the figure of the Evil Lords such as Ganondorf in Ocarina of Time or Dracula in his many adaptations from movies to video-games or it played by shady antagonists like Davy Jones or Erik, the Phantom of the Opera. Even there it's cannon that Malleus know to play organs (Endless Halloween event), it's a piano. To listen those cold and sad notes, featuring a eerie voice, as opening and ending of Malleus Overblot's music theme, give us the ton of the music but also of the character it depicts. In plus to reinforce the feeling of melancholy, its contrast with the storms that reign in most of the track. Like the calm noble leitmotif, the piano show the “softer“, tragic and lonely side of Malleus beyond his dangerous and scaring first apparence and nature as a Dragon and a Dark Fea.

As I was writing that post, I discover that during the battle between the Knight of Dawn and Maleonora, Malleus's Mother, the Overblot can be heard and that discovery make more deeper to Malleus. Making it more personal to Malleus than it's already etablished in the music itself. Far more than I originally suspected.

During the last showdown between the Knight and Maleonora ant their tragic ending, the use of the Overblot's theme don't make that scene feels like one of Maleficient in the original picture or only reflecting the way the Humans sees Maleonora. As a dark witch, a monster.

The Overblot's theme show her as royal princess, a Crown-Heir and a mother that will do everything in her power to protect her people, the persons she love and her child. Between him and his mother there is big similarities, and not just physical. Malleus had indeed inherited some of Maleonora's traits, but in his heart and his general personality, Malleus is more close to his father Lord Revan, as it's confirmed by Lilia.

"Just like his father, he is a kind person who ins't able to be ruthless“ "(Episode 7 Ruler of the Abbys Part 6, chapter 99)

At the end, that Overblot's theme not just a dungeon's final boss theme or a musical representation of the Arc's aesthetic.

Even more than Diasomnia bgm, this is Malleus Draconia's Theme. Not just his Overblot. His theme, as character, like we discover in both Diasomnia's trailer and Twisted Wonderland's Story. That music score give us more clues about who Malleus really is.

That music can be seen as the refection of Malleus's complex personality. Noble and benevolent, fierce and powerful ..

Both the Greatest Foe than the Devoted Protector.

Thank you for reading this review/analysis about Malleus. I hope you enjoyed it :-)

Lucy Floyen

Musictrack link : [Twisted Wonderland BGM - Overblot Malleus] (Soundcloud)