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botwstoriesandsuch · 4 years ago

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Kip v Age of Calamity

For someone who writes tough shit on Age of Calamity, you sure don’t see me writing a better story. So maybe I should stop complaining and be satisfied with what was given to me.

...or...

...maybe we can dedicated a few hours of my time to spite an ask.

Even though the entire argument of “why are you mad if you can’t write a story yourself” is inherently flawed and pointless considering that’s the equivalent of telling me I should chug spoiled milk because I’ve never milked a cow, I’ll fucking step up to the plate here, I’ll put my money where my mouth is.

So here is Part 1 of your residential Kip approved rewrite of Hyrule Warriors: Age of Calamity. Or as I like to call it:

Ok so before I get into it, a couple things I wanna establish. First, I know I just said I’m doing this out of spite, but I’m actually also doing this for fun. I really enjoy and am passionate about the writing process, so if you were looking for an angry rant about how terrible everyone’s opinions are about everything, this isn’t that. I don’t think that I am a better writer than anyone, or than the professionals that made this game, or that I am somehow superior to Nintendo. I am someone with the benefit of hindsight, I don’t have the constraints of producers and mandated directives and executives rubbing their hands in the story to make it more marketable or dumbed down or any of the other chaos that goes into crafting a videogame. So while obviously I think the people involved in this could have done a much better job, this isn’t a bash to say, “look how easy it is to make a story” because there’s a ton of unseen drama that goes into development that I have the luxury of avoiding, and it’s a miracle that any games are coherent and enjoyable in the first place. I’m just a lil Kip doing a fun lil exercise.

This little series is also not going to be a fanfic. I’m going to be telling the story chronologically as if you were playing for yourself, but it’s going to be from my omniscient perspective because 1) I need to relate the story to the gameplay 2) That would take way too much time to actually make this into a fanfiction as it already takes a hell of a lot of time to even plan out the beats of this rewrite and 3) This is less going to be a telling of a story, and more of a fun little exploration on the Three Act Structure and The Hero’s Journey. In fact, I am going to try and keep the given story of Age of Calamity as intact as possible.

The general ending is going to be the same, the characters used are going to remain roughly unchanged, (there will be no new characters, or removal of characters) and characters that live or die and where they end up are going to be mostly the same with how the original game is written. I know, I know, we all would love to see the Champions die brutally or to get us that sweet sweet Link angst or to have a game with multiple endings. And even though I personally would change some of those premises in Age of Calamity, I’m going to strive to keep it all as intact as possible, just to prove wrong the misconception that the story was only bad because of the writer’s choices for the general arc. I am a firm believer that biggest weaknesses of this game are in its methods of conveying its story, a problem in the storytelling process, and not (necessarily/only) the story product itself.

If you want to use any of the ideas that I present, go for it! I release them into the public domain, I have no plans whatsoever to write a fanfic for this myself, in fact I already have my own separate Pre-Botw fic story that I am pouring myself into, so I give the people full permission to take these ideas off of me.

Alrighty! With all that out of the way, let’s get into:

HERE IS THE VERSION IN A GOOGLE DOC FORM BECAUSE TUMBLR HATES YOU MOBILE PEEPS

Spoilers! Obviously. I’m going to act on the assumption that you know the full story of Age of Calamity to save myself some time, capiche?

Ok so we start out the game roughly the same, with eggbot being chased and forced to time travel into a portal. But, there is going to be some important differences in details.

We have the part of the scene where Zelda awakens her powers, and at the same time, something else in Hyrule Castle glows with the same aura. However, this glow is not coming from the Princess’ Tower, but instead, the camera pulls back from the fields of Fort Hateno, sweeps over Hyrule (where you can see the Guardians and the sense of destruction and all that) and the camera eventually flies over Castle Town, then within the Castle, weaving through the halls, until the camera stop and focuses on the entrance of a destroyed room, slowly creeping in. It’s a room that’s been demolished, stone rubble from Guardian blasts ruin the floor and cave in from the ceiling, there’s a small fire in the corners of the room, and from the props that you can make out, it seems to look like some study or office of some sort. The room is small, but domed and circular, signifying that it’s of a bit more importance than you might think . The desks and books and all buried beneath this collapsed stone brick. But as the camera focuses on that pile of rocks, from within that rubble, you see that same glowing aura that Zelda has, glowing brighter and brighter until finally out pops, eggbot.

Now, you can have that same sequence within the game where he runs around all cute, the outter wall of the room is broken so eggbot can look outside and see the Calamity’s destruction. Then that cut to Zelda saying “I want to save...everyone,” and this is important because I need the fade in between Zelda’s line and the fade back to eggbot to wordlessly imply that he is hearing these words, something that’s already done pretty well in the original cutscene. Anyhow, then the Guardian Stalker pops from behind, prepares to shoot, and eggbot can escape into its little time portal, and then the malice follows or whatever.

However, I’m not gonna immediately cut to the title, but instead, we have the music build to eggbot’s little jump in a pretty climactic way. But then the music still lingers slightly, and rests in suspense, camera is still looking out the window where eggbot jumped. It pulls back, turning back into this room that eggbot emerged from. Music is still relatively silent. Then, from the corner, you see some of the fire suddenly catch onto something. Flattened between the rocky rubble, just a few feet where eggbot emerged, is a purple cloak, trimmed with gold, flapping just slightly in the wind. [Said flapping being what causes it to catch] The fire catches, burning through the cloak, and underneath it, is a fallen copy of the Sheikah tapestry of 10k years ago. Camera zooms into that art of the Calamity, music suspends, merge to title card, then the music hits that climax and BOOM, “Hyrule Warriors: Age of Calamity.” Main Theme plays. Let the opening title roll.

Now the reason I changed this slightly is because 1) I wanted to earlier set up some of the plot points that I have planned for this (some of which you might already guess or maybe not who knows *wink wink*) and 2) I think that the original opening could have been much stronger with its hook. Yes, the element of mystery is established with eggbot’s existence and that element of time travel, but then the opening immediately goes into saying “This is the tale of champions, a diminutive Guardian who traveled backwards through time, and the Great Calamity they faced.” So...you just dampened that hook you established two seconds ago because you explained it all. Sure, it doesn’t completely ruin it, but I think the impact would be much stronger if that text wasn’t there at all, and the music and hype of the tapestry moving and coming alive is all there was. I’d much rather that element of time travel just be explained through the cinematography itself, because you can already understand that perfectly with that scene where you see the portal lead into birds flying around a beautiful Hyrule Castle.

Also, the music in this game is fantastic! So letting moments that really let you soak it in, I think would be very beneficial. So now this scene serves as a much more effective hook before we get into the actual plot. The mystery of eggbot’s identity is heightened and left a bit more unexplained, you have this mysterious circular room that you’ve never seen before, and the set up of details that will eventually serve later revelations in the plot, cough cough.

Then you hit Chapter 1, Link gameplay, eggbot and the tower, that’s all the same. I got no changes for the story there, it’s a great introduction. However! I know my strength here is writing and I am by no means a game developer or designer, but I need, I absolutely need to add one aspect to the gameplay.

Near the end of the first stage, where there are those three moblins at the end, I want to add something that I’m going to call, a gambit. The game already introduced you to the special meter and “press a to use special attack” thing, but I want Impa and Link to use a gambit to defeat this last horde of moblins. Essentially, you press A to use your special attack, BUT, if another character is in proximity, the attack is even more powerful. Every pair of characters has a special little attack, that does tons of damage, and during said sequence, there are voiced lines, or at the very very least text boxes that comment on it. And with this gambit, while a regular solo special attack still does a lot of damage, I’m gonna nerf it slightly to encourage players to use this gambit feature.

Now, why did I add this? Because I need to better connect this gameplay to the story on more than an external “lets defeat this and go from point A to point B” type of way. I need something in the gameplay to better serve to the game’s main theme of “teamwork makes the dreamwork” and all that. The CURRENT gameplay, although absolutely fun and fantastic, just doesn’t do this. I need just one element to serve this theme while ALSO having the dual purpose of serving as character interaction. The current structure of Age of Calamity works where the sidequests and battle serve as your character interaction, development, and banter, while the cutscenes serve the main story beats, and important plot revelations. The cutscenes just aren’t crafted to support the weight of these dozens of characters while also giving them all interesting interactions, and that’s fine! So I’m just adding this feature to the gameplay, because being able to customize different lines for different characters for different stages that are voiced will go a long way into making the character development seem more fleshed out. And this gambit feature doesn’t necessarily change the way you play the game drastically, as you can still have four character slots and have them split up to take on the battlefield, but now you can split them off into groups of 2. And also, because I’m not completely blind to game design, the damage percentage boost of these gambit attacks will not increase as much, just slightly lower, than the damage boost of a solo attack when you level up. So what I mean is, when your character is weaker level, you are forced to rely on others in order to defeat your enemies, but, with the way the leveling up percents work, your characters can still reach a point where they can defeat big bosses all on their own without gambits. THAT way, when certain events happen in later chapters, when your character is all leveled up, (and maybe they awaken a sacred power or two) it feels all the more powerful when you can go off on your own. You can feel how your character has grown in strength because you can contrast it with your teamwork gameplay of earlier levels. AND it still highlights the importance of that theme of companionship, because you would never have gotten to this level of strength had you not relied on your friends.

OK, so the stage 1 ends with a gambit attack, Impa compliments Link’s fighting style or something that shows her admiration or respect for him. And then stage 2 for the Road to the Royal Lab is the same, but gambit dialogue for that stage is Impa complimenting Link, Impa being protective of Zelda, and since this is Zelda’s first playable area, Zelda’s gambit lines can be about kinda brushing Link aside like “I want to capable to hold my own in battle but thank you” to Link (cause I never really got that same “I don’t really like you” vibe that is established in botw for this game) and then to Impa Zelda’s gambit lines can be like “is this thrill what you always feel when battling?” and Impa is like “yeah isn’t it great we should do it more often!” and then you can allude to that with a sidequest for Zelda’s training or something. I just want to better connect sidequest stories with this stuff. And also, gambits are obviously optional so that’s why this is all just banter and character development and not actually plot points, and I’m going to stick with just one-on-one dialogue, although it should be theoretically possible to have gambit boosts of three and four, but I feel that would be too much as I don’t want to ruin the gameplay balance and encourage you to keep all four character slots close together, because splitting them up is an important part of the game. Anyhow!

So Chapter 1 is done, my changes being almost purely in the gameplay because this is the start of the story and the character set up is important. Chapter 1 to Chapter 2 is basically the establishment of the ordinary world, and in the Three Act Structure it’s basically Act 1. Act 1 is all about set up. I need to really focus this chapter on both introducing the player to the mechanics of the game, having them connect to the characters and the characters connect to each other through the gameplay, and I need to establish this tone so that when I rip it away, and change the tone during the threshold, it feels more meaningful and suspenseful.

As you can see from the diagrams, Act 1 has something called the Inciting Incident. The Inciting Incident is going to be the Yiga attack in Chapter 2, where our heroes first experience the true dangers of their journey, and there is no turning back. BUT I’m getting ahead of myself.

Chapter 2 is also exactly the same. I would literally change nothing about the Champion’s sections (other than my addition of gambit interaction of course) because they’re all pretty great. For the record, yes, evil egg is still a thing, and yes, Zelda and the gang can still discover those pictures of the Calamity in eggbot, yes you beat up Revali, and the Divine Beast sequences are the same. I just really need that gambit dialogue to help establish character relations. Revali quips at Link, Mipha protects him, Daruk is his buddy [I thought a cool gambit attack for Link and Daruk to better show that they are old friends could be them both chewing down on some rocks, before striking an enemy simultaneously. Because they never eat rocks together and I just want this ok] Kohga is the same, Sooga is the same, BUT, for that scene when you first meet Astor in the Yiga base, I need two things to happen. 1) The camera reveal for Astor starts at his cloak, which is intact and NOT tattered like how his design is in game. It’s a deep purple with gold trim, the camera pans up to the back of Astor’s head. Now 2) When the camera moves to look at Astors face, I need him to be standing in front of and staring solemnly at the evil eggbot. He’s frowning, and his eyes suggest something like he’s deep in thought of something in the distant past. That’s how the scene starts, and in the background is Kohga recounting the events of his failure to beat Urbosa and the gang. Then, Kohga can say something funny to annoy him, Astor’s face changes to your classic villain disgust. Then, he can get a bit pissed and go on his little rant about how pathetic the Yiga are and how the Calamity is trapped within the evil eggbot and how he will use his powers to end the Kingdom of Hyrule. Then he can take his little astrolabe and be all “My harbinger, show me the future!” and all that. IMPORTANT LINE CHANGE, Astor’s motivation here is not “The future, as it will and must be. I will not allow anyone to alter its course.” Instead, I need to tweak it slightly to be, “The future, as it was fated to always be. The pathetic stories and legends of children and false kings cannot waver this course. I will not allow it, for my sake…” camera pans to the broken evil guardian, Astor’s voice lowers just slightly. “...and yours.” The slightest, almost silent bits of the harmonies (not the melody) of the Hwaoc Main Theme play before fully fading back to Astor’s theme. And the final shot of that scene is Astor, looking down at the heap of Sheikah tech, with a neutral expression, but then looking back up at the malice stars, and the future visions of the Calamity. He just ever so slightly smiles.

[Also I JUST realized that the harbinger is actually slightly above Astor, because it’s supposed to show that the power dynamic is really Calamity Ganon is in control, so ignore the “looking down” parts I talked about, and just think in the broad direction of Astor looks at the guardian, and then looks further up at the ceiling with the Calamity and the future and then he smiles]

For that scene, I also need to remove any characterization where Astor is laughing and being joyous at the impending destruction, I only need that smile at the end. There is no villainous cartoon laughter, at least, not yet. Also the part where Sooga calls Astor a fool for thinking he can control the Calamity is GREAT I need that, that absolutely needs to stay in.

And then Chapter 2 closes off with that Yiga ambush. That’s the inciting incident, so I need the tone at the end to be slightly different. Instead of ending on that cute little thing where eggbot points angrily at Link, (like that part can still EXIST in there BUT) I need it to end on a more serious note.

Referring back to the Hero’s Journey, the Call to Adventure is the parts of each of the Champion’s recruitment. They each have their initial reasons for joining the fight, whether to protect their people, to feel validated for their skill, to get closer to the ones they love etc etc that’s all established in their respective stages.

This Yiga stage, however, serves as the official barrier between Act 1 and Act 2, the threshold between the known world and the unknown world, where the heroes prepare to seek out the obstacle that stands in the way of their goal. It’s important that this threshold establishes a sense of urgency, because that better gets you invested in the stakes, and helps the story's momentum to move forward. IT shows that the journey and adventure that these characters want/need to take is outside the safety of their home/known world.

In the original game, the threshold ends with that cute scene of eggbot and Zelda and Link and the Zelink vibes. That’s not bad, but it’s also not good. The momentum towards the later confrontation in Korok forest needs to feel more important, because this is a major turning point in the story. SO, I am going to add one more scene at the end. It’s just after the ambush, after the fires have died down, and Zelda (and in the back the Champions) discussing the events with the King. I want King Rhoam to a few things. First, I need him to kinda berate the Champions for falling for the Yiga’s “splitting them up trick” and leaving his daughter vulnerable. This 1) establishes doubt within the party, which makes for better uncertainty for the future and later internal conflict. This was supposed to be the dream team but the King is already kinda telling them off. 2) This also still characterizes the King as someone who cares for his daughter’s safety. That care for his daughters safety is layered in the subtext of him saying something like “Your priority must be to protect the only person capable of sealing the Calamity. You were so concerned with victory and glory in battle that you forgot that the fate of this kingdom lies on my daughter’s survival.” and blah blah blah. The King can also congratulate Link for keeping Zelda safe, and this is GREAT because that can add further to Zelda’s slight resentment for him, as he’s getting the approval from the King that she has yet to receive. But like overall the King is like “don’t leave my daughter alone cause she almost got killed if it weren’t for Link wtf.” and then that can also be a further excuse to hurry to korok forest to find the wielder of the sword so that they can better protect “not just the Princess, but the entire world,” something something fancy kingly dialogue.

Also when the Champions leave THIS can also be the time where Zelda gives that Sheikah device thingy to Rhoam and also where he sees eggbot. I know that happens a bit later, but for pacing purposes and for the sake of the story changes that I made, it better serves to place it here. That interaction itself can stay mostly the same as it is in the game.

So now, the threshold ends with a bit more tension. The Champion squad is powerful, but also has flaws in how they were split up by the Yiga, (cough cough I wonder if that serves the themes of the game in some way cough cough) and it’s not just “smooth sailing” into the search for the Master Sword, and the stakes are a bit rocky as we finally enter into the story’s Act 2.

= = = = =

And that’s Part 1 of my rewrite. Not really a lot, cause again this is mainly character set up, and establishing stuff, but personally I think it’s already a bit stronger than how Age of Calamity did it. Stay tuned for Part 2 either tonight or tomorrow, mwahaha.

Predict the future if you can...

#yes that is a allude to Nando v Movies #hwaoc spoilers #Hwaoc: The Kip Cut #honestly not TOO much rewritten for the First Act because the First Act is actually one of the strongest and best written parts of the game #hwaoc #age of calamity #hw age of calamity #hyrule warriors age of calamity

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writerofthespiral · 4 years ago

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Kane's Court Analysis #1 - Phule

Author’s Note: I don’t know if I’ll make this a full series or not, but I really just thought that the Armada court, and Phule by that extension, was interesting, especially read from a historical and psychological standpoint. Yes, I'm a nerd.

Word Count: 4,205

Tw: Mentions of Mental Illness

Kane’s Court Analysis - Phule

I. Introduction

A lot can be said about Kane’s court and the machines he built to achieve his grandiose ideas of a perfect world, but more can be said about the cogs in his system. Phule is a broken cog — one that stepped out of line, helped us, and saved the day. He’s someone to be cautious of, love, or fear. There's a certain complexity about him that, when put into perspective, adds a fresh layer to Phule.

II. Behind the Design

When talking about a character in any game, film, or media space, it’s important to tackle the significance of their design. Oftentimes, a person can tell a lot about someone from their looks, which is especially true for the Armada Elites. Phule, for example, is obviously based on a court jester, but it’s not all jokes and laughs.

The Meaning Of The Mask

When talking about Phule’s appearance — or any of the Armada Elite’s — it’s important to understand that they’re mainly based on the Venetian Carnival, the Commedia dell’Arte, and Greek theatre (with hints of Roman influence). Phule’s mask is based on four different masks: The Joker Mask, Comedy & Tragedy, the Pantalone Mask, and the Arlecchino Mask.

The most straight-forward element about Phule is the Jester Mask, seeing as he is a jester. Simply put, "The Joker or Jolly Venetian Masks depict the role of the Jester in the Italian Middle Ages...The Jesters... wore brightly colored clothing in a motley pattern and they were known for their incessant laughter" (Venetian Mask Company). The Jester Mask represents someone who is colorful and entertaining to his audience. It's a universally known mask meant to be taken at face value, just like Phule, until one looks at the other key components of his mask.

When looking at Phule, one sees the famous Comedy & Tragedy Mask associated with theatre and the extremes between euphoria and sorrow. But what most don't know is that the mask has a long, rich history associated with emotions and the human psyche. According to The Greek Designers, "The Comedy mask is known as Thalia, who in Greek mythology is the Muse of Comedy and Idyllic Poetry, portrayed as a happy, cheerful young woman crowned with ivy" (The Greek Designers). The Tragedy mask, in turn, is known as Melpomene, the Muse of Tragedy, who's depicted with the mask in one hand and a knife or club in the other.

The historical significance fails to stop there. "People often relate the masks to Dionysus originally. Dionysus is the Greek God of wine. The masks depict the happy and sad emotions that drinking wine can bring. They have also been linked to the Greek God Janus which is known as the two-faced god of beginnings. It is said Janus lent the name to the masks" (OnStage Blog). This detail is important, because Dionysus and Janus are both significant Gods. Commonly known as the God of wine and ecstasy, Dionysus was the God of madness. And as the God of madness, he was often a symbol of liberation and rebellion for the lower class and marginalized of Greek society — namely slaves. Then, there’s Janus, known as the two-faced Roman God, representing the transition between war and peace, and beginnings and endings.

In addition to this two-faced mask, Phule's mask has hints of the Pantalone Mask. The Pantalone Mask's features include: an exaggerated nose, cheekbones, eyebrows, and a mustache. The Pantalone Mask is the best-known Venetian Masks. It arose from the La Commedia dell’ Arte character, Pantalone, who was one of the most powerful characters. But, the mask itself was created before the Commedia dell’Arte theatre began to use it.

The character of Pantalone is described as “An old Venetian merchant, often very rich and highly esteemed by the nobility, Pantalone is originally known simply by his formal title, Magnifico. A self-made man, he has reached his wealth with ruthless tactics and keeps his money close to him" (The Venetian Mask). He is rich, greedy, lustful, and naïve. Pantalone is, “gullible enough for being taken advantage of from his “servant lovers” or male subordinates: servants, doctors, captains, whoever can get money out of him" (Roberto Delpiano).” His lust also leads to him being rejected by the women he pursues, making him an enemy of the youth.

Applying the Pantalone Mask to Phule, it’s easy to see why he and the Pirate — for the majority of the game — were enemies seeing as Pantalone is a natural enemy to the young. However, it also implies that he was taken advantage of by those around him and was a laughing stock. And, of course, his willingness to save himself and betray his father to save himself is 'selfish' in nature — more on that later.

The last mask, of course, is the Arlecchino Mask (which also inspires Phule's general get-up). More commonly known as the Harlequin Mask, the wearer serves a similar purpose to the Jester, which evolved over time. According to one article:

"As one of the lower ranking, lazier, and stupider servants, he [Arlecchino] is often abused by being yelled at or beaten (with slapstick stage combat) by his masters and others or never paid his wages. Yet he does have a certain luck and can be clever enough to grab hold of any seemingly fortunate situation that happens upon him. He might not think up a plan on his own but he can come up with some amazingly complicated and absurd explanations and rationalizations. Later period harlequins were more prone to become clever tricksters and rascally tramps while still often being foolish or stupid" (Commedia Dell'Arte).

On top of being a tragic figure for the entertainment of others, Arlecchino is said to have demonic origins. “One of the demons in the XXIst, XXIInd and XXIIIrd cantos of Dante’s Inferno is, indeed, called Alichino. The name itself seems to be related to the Old French word for “ghost”, i.e. hellequin, which, in turn, comes from the Germanic root for “hell”. Starting from Dante’s Inferno, this demon would therefore develop into a comic character" (CA’ MACANA). In a way, this gives one some insight into Phule not being a monster, but a tormented soul.

What It Means To Be A Court Jester

One can’t analyze Phule without talking about what he is — a court jester. But his role is no laughing matter. In fact, in a historical context, Kingisle did a decent job in portraying him.

To understand fools, it’s important to understand the three different types of fools: the innocent fool (or natural fool), the amateur fool, and the professional jester (or licensed fool). A natural fool was someone with physical or mental deformities that made it hard for them to receive employment as anything else. Typically, “wealthy or noble families also adopted men and women who had mental illnesses or physical deformities, keeping them almost as pets for their amusement or as an act of ‘Christian charity’”(History extra).

A licensed fool, on the other hand, could best be described as someone hired for their wits and talents, normally wearing regular clothes. Lastly, there were Amatuer fools — they usually wore the jester costume we’re associated with. In any case, “..those with physical deformities, such as extreme hunchback, malformed limbs, particularly ugly visages, etc. were prized, as were dwarves…” (TodayIFoundOut). Taking this into account, and the brazen nature of Valencia, it’s apparent Phule served as both a natural fool and a licensed fool, possibly serving as entertainment for King Casimir. But seeing as court jesters had duties other than entertainment, Phule served Kane very differently.

Although we didn’t see the entertainment-based responsibilities of Phule, we, as players, did see part of his militaristic responsibilities. That’s right — court jesters served important roles to their lord during times of war. In fact, they were political advisors. “Because they had no real fear of reprisal, jesters were able to speak their mind and offer advice when others may have feared to give it” (WeirdHistory). Kings and Queens would often go to them for advice on political matters and choices they’d made. On top of that, Court Jesters were expected to be the bearers of bad news for their lords, having to utilize their wit and comedy to tactfully deliver unsavory messages.

In addition to delivering messages to their lords, jesters would also deliver messages to their enemies during times of war. They were theoretically protected, but there were some that would shoot the messenger — from imprisonment to execution. In addition to their messenger duties, jesters would entertain the King’s troops during times of war to raise their morale.

On top of that, they were also masters of mental warfare as well. Some jesters would ride on the front lines, spewing insults at the enemy. They rode in front of troops to make sure the opponent could hear them. And while this may seem ridiculous, "...the idea was for the jester to provoke those enemies who had explosive tempers into breaking ranks and charging prematurely" (Weird History).

Phule did his job, and did it well, despite his apparent shortcomings. He got under our Pirate’s skin by claiming that he could hear our heartbeat, and lead his own squadron of soldiers. He’s just as threatening when we next see him captured in Fort Elena, albeit much friendlier. And of course, he still manages to affect the Pirate, though he has little time on screen, by causing us a few inconveniences.

He may not have been Spymaster, but he was effective in implanting fear and paranoia in his enemies. Take, for example, the Villa Trigante instance in which the Pirate is — presumably —betrayed and sent to the cellars by Don Giovanni. One of the resistance fighters we face, Beniccio Amati, is quick to say: "You're persistent. I'd expect no less... From Phule's spies…” (P101). And although we aren’t one of Phule’s spies, it makes one wonder: Just how many times has this happened?

In addition to his competence, we can presume Phule is powerful. He’s clearly akin to a Witchdoctor, but we don’t know much else about him. We have, however, seen the results of a battle with him. He cleared a path for the Pirate to enter The Machine, in which, there are plenty of Armada soldiers strewn about. It’s possible that his abilities manifested themselves similarly to Bishop’s use of electricity, that he had some mojo capabilities comparable to Kane (meaning that he could possibly teleport), or that he is wholly chaotic and mojo-based like the Player (if they're a Witchdoctor). If the latter is true, it plays into what Phule said about being destroyed due to being imperfect, especially since the Armada banned hoodoo within their sphere of influence. In any case, it is interesting to see how so much can be told from Phule’s character design alone, but there's still more to explore.

III. Character Analysis

Kingisle put a lot of thought into what type of character Phule would be. According to his Rouge’s Gallery video, Phule “seems to operate purely out of whimsy and caprice” (KI) and “speaks in two different voices, shifting back and forth between twin personalities who are as antagonistic toward each other as they are to any enemy…” (KI). Phule isn’t all there, but make no mistake: he is very capable of doing what he does. The video goes on further to elaborate “that Phule shifts allegiances faster and more often than any other court member”(Ki), which makes sense with how his relationship with the Pirate turns out — which will be touched on later — and gives the player a basic idea of who Phule is, though there is more to analyze.

Our Meetings With Phule

Besides a few outside sources, most of what we know about Phule comes from the three times we see him: Granchia, Fort Elina, and at The Machine (with the exception of the Villa Trigante Cellar), in which a lot more can be observed.

When we first meet Phule in the Granchia Catacombs, the Pirate sees him leading a small squadron of soldiers. It is here that we first meet the two sides of Phule (whom I will refer to as Comedy and Tragedy).

Comedy is a mix between welcoming, eccentric, and mischievous. In one breath he says “Don’t bother trying to hide, I can hear your heartbeat” (P101), yet he also claims to want to let us go. Furthermore, he calls the Pirate resourceful, saying that, “you’d be quite a thorn in the side of Deacon, Bishop, or Kane himself…” (P101). Meanwhile, it is Tragedy that orders his captains to attack us, calling for our surrender.

What's interesting about this first meeting, upon reflection, is that Comedy seems to think about helping us. I’m not suggesting that one side of Phule is ‘good’ and the other is ‘evil’, but that Tragedy seems more inclined to be protective of whatever is in Phule’s best interests. Comedy, on the other hand, is Phule’s desires. This may be why the two sides often disagree. One side thinks we’d be useful in his desired goals while the other does what needs to be done.

When the Pirate discovers Phule in Fort Elena, their interaction is short, but something to note: Phule slightly warms up to the Pirate. Tragedy is still hostile, but comes off as though he was attempting to keep up a facade. Comedy, of course, is the opposite, going so far as to ask us about why we weren’t in Cool Ranch messing with Deacon. In fact, Comedy gives us a well done, because “...[you’ve] become quite the thorn after all” (P101), then tells us to run along with our quest.

And then, there’s the final time we see Phule — right before the machine. Instead of arguing, both sides of Phule are working together for a common goal: to oppose Kane. Both sides of Phule were waiting for us at the machine, both of them told us Kane’s plan, and both agreed to give the Pirate the Key.

And why does he do this? Phule is able to recognize that he isn’t perfect as Kane would say, in his own words. As Comedy it’s, “I've grown fond of this world, and would hate to see it destroyed. I've also grown fond of you. But most of all? I'm just curious to see what will happen" (P101). And after Tragedy sends his regards to Kane, this is the last we see of Phule.

Another thing of note, is when Gazpaccio calls Phule a tormented soul, which begs the question: Does Kane see Phule in the same light he sees Gazpaccio? More than likely, yes, which may have influenced the way he treated the Clockwork. Another thing — how well Gazpaccio and Phule knew each other? Sadly, there’s not much to work with to answer this question.

In any case, these events reveal the type of person Phule is: part of him is chaotic and wants freedom, the other side of him is objective, if not spiteful. Together, the two sides of Phule make a being that is neither wholly good, nor bad, but certainly eccentric, which begs the question: What is Phule to us, the Pirate?

Friend Or Foe?

Although it’s safe to say that Phule is on friendly terms, he and the Pirate aren’t exactly friends. He did betray Kane, but had ulterior motives of his own. And while it appears he’s been contemplating his betrayal for some time, there have also been times when he’s antagonized the Pirate. We also know that he’s a jack-of-all-trades with experience in espionage, being a general, and an admiral. And referring back to the Rouge’s Gallery, “the most paranoid Valencian intriguers wonder if Phule’s antics aren’t just a clever act, hiding a method behind the madness” (KI).

The thing is, we may never truly know if we can or cannot trust Phule. While he may not be our friend per se, our goals aligned, and it's been established that Phule’s alliances don't often last long. He may laugh and revel in the failure of his fellow court members, but he isn't there to like us. In fact, we may serve as a form of entertainment to him, because Phule did watch us instead of fighting by our side (which he clearly showed himself capable of doing). But, it's unlikely he’s going to show up as a foe in the future, and it would be a surprise if that were the case. It’s more likely that Phule simply disappeared somewhere, and the player may never know what happened to him.

The State of Phule’s Mind

Before ending this section, it’s critical to talk about Phule in terms of his light and dark side. While in the game, he is described as eccentric or insane, it’s clear that Phule is mentally ill by our standards. And although it’s hard to judge him by human standards, due to the fact that he's a Clockwork, since Clockworks have shown their ability to showcase complex emotions, they can exhibit mental illnesses.

In Phule’s case, he likely has Dissociative Identity Disorder (DID), but here are some important things to understand: you cannot be born with DID, an alter is not necessarily a different personality, and the portrayal of Phule is not wholly accurate. Again, Phule isn’t a human, though his backstory does somewhat align with the development of this disorder.

DID usually occurs in children who have undergone immense stress and trauma for long periods of time, and as a result, were not able to develop a unified sense of identity due to the weight of their memories. Due to this, they develop a system of alters in order to cope with day-to-day life. Similarly, Phule was created to be perfect by a narcissistic father who could never admit to being wrong, and as a result, his mind was ‘off', and he was written as 'insane'.

Phule also has two distinct alters: his light side (Comedy) and his dark side (Tragedy). Comedy is whimsical, friendly, and mischievous and may very well serve as the host, as he seems to front the most, talk the most, and has the most lines out of any of the events. While Tragedy may serve as either a protector, seeing himself as a beacon of logic and strength doing what needs to be done; or a prosecutor, who may have protective goals in an attempt to keep the system from reliving the trauma and abuse they’ve faced, but tend to be harmful and have a distorted view of reality.

In any case, understanding the two sides of Phule is essential to understanding him as a character. He is someone who’s been persecuted due to both his appearance and his mind, which he could not control, and it clearly has had an effect on him.

IV. Phule & Kane’s Court

In analyzing who Phule is as a character, it's just as important to ask why he is the way he is. It’s easy to see how he developed, but, due in part to a lack of backstory, the question of why is somewhat hazy. The player is given a few details in the form of implications about Phule, but also information that was info dumped that leaves behind more questions than answers.

What Was Phule’s Role In The Court

Cannonly, nobody really knows Phule’s role in the court. As said by the Rouge’s Gallery:

“He is neither general nor admiral, though he has captained Armada fleets and armies. He is no spymaster, yet he has performed espionage and been involved in the deepest of Bishop’s intrigues. He is the ultimate wild card, appearing in the most unlikely of places from the Great Halls of the Palaces of the Spiral to the humble backwaters of Skull Island” (KI).

As a character with multiple roles, Phule proves himself to be a valuable player and a jack of all trades. Due to this, one can assume that he would have been more sociable than the rest of the court, or at the very least close to it, due to the fact that it’s established that his allegiances are often fleeting. Though, it can be speculated that his strongest relationship may have been with either Bishop, seeing as he worked for him, or Deacon since both of them seemed to be the most active of Kane’s court.

In relation to the historical context within Pirate101, I could also possibly see Phule being a sort of voice of reason for members of Kane’s court — at least those who would listen. We know what Phule thinks of Kane, but have never actually seen Kane interact with Phule on screen, so the details are murky here. On top of speaking with Kane’s court, it’s possible that Phule entertained and advised King Casimir, in addition to Kane.

Aside from military duties, with how festive Phule is — in concept at least — he may have either planned out various events in Valencia, or at the very least been apart of them. After all, Phule is a court jester, and one of the fundamental jobs that comes with being a court jester is making other people laugh.

Phule’s Relationship With Kane

Another important part of who Phule is is his personal relationship with Kane. Kane is many things: a military genius, a diplomatic wonder, and effective in ruling with an iron fist, but he fails as a father — just as his father failed before him. Kane is a narcissist who expects everything he creates to be unquestionably perfect, which is why he looks at Phule with absolute scorn.

Phule is what he would, likely, consider a worthless child. He wasn’t born right in his eyes, yet Kane continues to use and depend on Phule for his missions. It’s likely that Kane wanted to keep Phule in place, as he did with his other court members, but Phule is the only elite who’s not based on a chess piece.

Phule is a wild card who knew he wouldn’t live up to Kane’s expectations, and he decided to save himself. And although this choice may seem selfish, it’s important to remember that many victims tend to stick around for various reasons — sometimes they aren’t mentally capable or able to leave. We, the player, have seen Phule express himself, and learn kindness. And although he may have hurt people in the past, he was willing to make up for it.

He decided to leave behind a father that never loved him, and never would love him or see him as an equal. He had every right to be scornful and bitter, maybe even take after Kane, but he broke free from the cycle and decided to help the Player because he maybe, genuinely, fell in love with the world that never loved him and all its flaws. That is the beauty of Phule’s character. He’s neither here, nor there, but he’s just as human as you or I — ignoring all the cogs, of course.

V. Conclusion

In terms of character design, personality, and backstory speculation, Phule is a great character despite the little screen time he got. He may be one of the strongest members of Kane’s court, is definitely one of the more mysterious ones, and is an interesting, tormented soul. Whether or not he’s friend or foe, Phule illuminates the environment around him.

Works Cited

CA’ MACANA. “The Arlecchino Mask: a Motley History.” The Best Venetian Carnival Masks in Venice: Ca' Macana, www.camacana.com/en-UK/the-arlecchino-mask.php.

Commedia Dell'Arte. “ARLECCHINO.” Mayhem, Madness, Masks and Mimes - Commedia Dell'Arte, mayhemmadnessmasksandmimes-commediadellarte.weebly.com/arlecchino.html#:~:text=Arlecchino's%20costume%20and%20mask%20are,Arte'%20Character%20Analysis%22).

“Drama Masks: Thalia + Melpomene.” The Greek Designers, 6 Nov. 2018, thegreekdesigners.com/2016/03/07/drama-masks-thalia-melpomene/.

“Jester (Jolly or Joker).” Masquerade Masks & Venetian Masks Company, www.italymask.co.nz/shop/Decorative+Masks/Jester+JollyJoker%3Fcat=01108.html#:~:text=The%20Joker%20or%20Jolly%20Venetian,known%20for%20their%20incessant%20laughter.

KingsIsle, director. Pirate101 Rogue's Gallery: Phule. YouTube, YouTube, 3 June 2015, www.youtube.com/watch?v=3VdwBDdeMYo&list=WL&index=69&ab_channel=KingsIsleEntertainment.

“Pantalone Mask.” Kartaruga, 7 Aug. 2017, kartaruga.com/mask/pantalone-the-magnificent/.

“Pantalone Masks.” THE VENETIAN MASKS, 21 Jan. 2021, www.thevenetianmasks.com/pantalone-masks/.

Staff, OnStage Blog. “The Origins of the Comedy and Tragedy Masks of Theatre.” OnStage Blog, OnStage Blog, 21 June 2020, www.onstageblog.com/editorials/comedy-and-tragedy-masks-of-theatre.

TodayIFoundOut, director. What Was It Actually Like to Be a Court Jester in Medieval Times? YouTube, YouTube, 31 Oct. 2019, www.youtube.com/watch?v=tkLZYEIslWM&ab_channel=TodayIFoundOut.

“Welcome to the Pirate101 Wiki.” Pirate101 Wiki :: The Largest and Most Accurate Pirate101 Wiki :: Featuring Guides, Companions, Quests, Pets, Bosses, Creatures, NPCs and Much More!, www.pirate101central.com/wiki/Pirate101_Wiki.

“What Life Was Really Like As A Medieval Jester.” YouTube, YouTube, 3 Apr. 2020, www.youtube.com/watch?v=m7F5ioUQLJc&ab_channel=WeirdHistory.

“What Was Life like for a Court Jester?” HistoryExtra, 26 Nov. 2020, www.historyextra.com/period/medieval/what-was-life-like-for-a-court-jester/.

www.delpiano.com, Roberto Delpiano -. “PANTALONE.” Pantalone | Pantalon De' Bisognosi | Grevembroch Watercolor | Traditional Mask of Venice Carnival, www.delpiano.com/carnival/html/pantalone.html.

#pirate101 #p101 fandom #p101 #Phule #writing #essay #character analysis #character study #Yes I wrote an academic essay on a clown #no i'm not okay thanks for asking #10/10 would do it again tho #Maybe I'll make it into a series since it'd feel wrong not to do the entire court

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warsofasoiaf · 4 years ago

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Character Analysis: Jon Irenicus

Irenicus is a fun villain, and I think nailed one interesting element of writing down, that of bringing down the villain’s threat in an interesting and believable way. The hero typically grows in power in any story, not just in a game where your progression is literally your XP, but what the villain does, how they grow, is also interesting. If the villain is more powerful than the hero, and also does things to grow and learn, theoretically the villain should still be wrecking house. BG2 wove this into the story itself, where the more you learned about Irenicus, the less menacing he became, culminating into where he was arguably your lesser at the end: he was powerful but only aping what you were.

Obviously, spoilers for BG2 abound.

Baldur’s Gate II introduces us to our villain almost as a cold open. Fresh off the high of defeating Sarevok, you leave Baldur’s Gate after being pressured to leave by “dark forces” and by those who suspected that you shared similar heritage to Sarevok. Seems a bit odd, honestly, to oust the Bhaalspawn with suspicion given that during the course of Baldur’s Gate I, you saved two of the Grand Dukes. It’s certainly understandable that folks would fear your heritage and you’d want to move on to greener pastures, but something more than a 3-minute cut scene would have probably set the scene better.

However, this opening, and the ‘cutscene’ that follows gives Irenicus a grand initial reveal to the player. This guy is an ultra-powerful wizard, and he speaks with a clinical detachment as he states: “It’s time for more experiments.” It’s a wonderful opening to illustrate exactly what you’re dealing with. He’s clearly interested in your godly soul, and exploiting it to some unknown purpose. What is unknown, as he gets called away by some unspecified intruders by a golem. In the next scene, magical traps are set off as an unspecified Shadow Thief gets disintegrated. Story-wise, this serves no purpose, it’s purely meant to be a way to show off the new spell effects and other cosmetic changes to the engine from Baldur’s Gate II, with the disintegration dust and the screen shaking. But it does help illustrate the power level that Irenicus is throwing around. Save-or-die spells were relatively rare in the lower level of Baldur’s Gate I, even Semaj, Sarevok’s mage companion, wasn’t firing off disintegration willy-nilly. Throwing around disintegration spells clearly shows that Irenicus is a new high-level baddy. Later we see that he killed characters from Baldur’s Gate I off-screen, Khalid and Dynahier, two of the three sets of paired companions from BG1. This gives their partners reason to join in with the player character, but it also serves to show his power; Irenicus is such a bad dude that he can wipe your party before the game starts, like he was getting coffee. It might be a cruel cut, but that’s its intent, to make the player character mad at the villain, to want to punch his smarmy face in.

Commensurate in the danger of Irenicus is the need to find out what’s going on. Irenicus clearly knows something about your godly soul and so you want to find out what he knows. Even for an upstanding lawful good character, growing in power means finding a way to effect good on a larger scale, and perhaps to overcome the evil in your tainted blood. After all, no matter how good you were in Baldur’s Gate I, you still were an incredibly powerful killer. Sure, most if not all of them were bad dudes, Mulahey the iron ore poisoner, the bandits of Cloakwood, the Iron Throne and their plans to take over the Sword Coast. But chaos and destruction follow in your wake, and that chaos undoubtedly would hurt innocent civilians; Saradush in Throne of Bhaal is clear of that enough. Even just knowing more about what is going on could better prepare you for the next Irenicus or the next Sarevok.

When you go through the starter dungeon (another piece of game design, you are being tutorialized but the pastoral instruction of Candlekeep makes no sense for someone who already had an adventure), pieces of the man start to fall into place. He holds a bunch of captive dryads as concubines to remind him of someone he lost. He keeps an immaculate bedroom for a companion that is never there, with an alarm ready to dispatch the golems to kill any who cross the threshold. There’s a woman that was in his life that is no longer there, and the loss pains him, or at least, it seems that it should. Chatter with Imoen and the dryads show that this mystery man is trying to elicit feelings that he had lost, and that’s an entirely different case of worms than pining over a lost love. There’s some element of almost-unwilling psychopathy to these actions. Other hints in this dungeon illustrate this as well. His servants, discarded in vats and forgotten about entirely, would at first evoke classical evil overlords casually disregarding their own subjects. He’s almost all of the way there, but there’s enough there that the player is suggested that there has to be something more to it than that. He does seem to have some sort of sociopathy to him, where people are objects that he can find fascinating but he has no empathy. We see this later with Wanev, who Irenicus spares solely because he was hit by a spell that left him a lunatic, which Irenicus found funny, the administrator of a jail for the insane now rendered an insane patient himself.

He is powerful though, that much is clear when you break out of the starter dungeon. His display of magic collapsed part of Waukeen’s Promenade, and when the regulatory magical body of the Cowled Wizards comes to shut it down, Irenicus is capable of swatting mages like they were mosquitos. Just like the Shadow Thieves that he had been fighting, Irenicus seems more annoyed at the interruptions than any physical threat posed by his myriad foes. He’s definitely a powerful wizard, and when he finally submits to the Cowled Wizards, he does so clearly as their superior, dragging Imoen along with him. It’s fairly plain from a game design perspective what Irenicus is doing; he’s going to Spellhold so you have to get there. Good characters want to rescue Imoen, evil characters want to interrogate him to unlock the power in your blood. Either way, the player character is given a goal, and Irenicus disappears physically from the story for the moment.

He isn’t absent though. In your dreams, Jon Irenicus waxes philosophical at the player character, evoking thought-provoking questions. He explains the paradox of your existence of being born of murder, given life from the act of taking life. He speaks about accepting the gifts that will be given to you, regardless of whether or not you want them. These dream sequences are clear upgrades in quality and presentation from the spoken-dialogue text boxes from the first game after you beat major milestones. David Warner does a great job here in delivering Irenicus’s lines, he feels like a evil mentor speaking about philosophical topics with the same detachment that he tortured the player character with in the opening. While we find out later that these dreams aren’t sendings from Irenicus but rather parts of your character’s godly subconscious, they suggest to the player going through Chapter 3 that Irenicus does indeed know a hell of a lot more about you and your godly blood, keeping the player interesting in finding out exactly what it is you need to find out. The other quests in Chapter Three don’t have much to do with Irenicus, aside from some random events with the guild war in Athkatla at night, where the player will find out pretty quick that one side is powered by vampires, the level drain and click-dialogue of “your blood is rather inviting” isn’t exactly hiding that there be vampires engaged in a secret war with the Shadow Thieves. Even then, it’s tangential. You knew the Shadow Thieves were attacking Irenicus, which suggests at least some level of camaraderie with the vampires, but as we saw with the deep dwarves in Irenicus’s lair, he doesn’t care about followers, and they might simply be disposable assets if anything at all. If you want to know about Irenicus, you’re going to have to get it from the man himself.

Of course, as befits a high-level mage, Irenicus breaks out of the prison in a cutscene, kills the Cowled Wizards and goes back to whatever unsavory plans he thought up for Imoen, teleporting into the lobby and chewing the scenery with his “I CANNOT BE CAGED!” speech, reinforcing his position as the central big bad and confirming the Cowled Wizards as mere obstacles. This part of his plan has been made clear. Far from the meddling Shadow Thieves and Cowled Wizards, Irenicus can continue his experiments on Imoen in Spellhold, and it falls on the player character to go there and end it. Irenicus, of course, knows this too, and he makes sure he has contingency plans to deliver you to him. I’m of three minds on this. On one, he’s so powerful it seems that he is so powerful, and Amn so large, that plenty of these isolated areas within the continent would service just as well for Irenicus’s lair. Why waste time with all of this blah-blah-blah and just take what he wants? It’s not like teleport spells are beyond his ken. On the other hand, it’s a good way to break up into the freeform quest design that Chapter Three gives, offers the chance for your characters to level up and get cool gear, lets you rock the stronghold quests which definitely let you feel your class and increase replay value, and the idea of the forbidding wizard in the island lair is an excellent backdrop. On the third, it’s in-character for an immortal mage to have plans within plans, even to the point of complexity addiction, although his conduct afterward sort of torpedoes this idea.

That is, after he recaptures you, he immediately goes back to work to his experiments, and after another trippy dream sequence with Imoen, you find his plan. His goal is to absorb your divine soul, taking it for his own. He doesn’t explain anything more, but now that he has you, he discards you just as he has so many others. Telling his sister Bodhi to dispose of you is what keeps him from being someone like the Riddler, since he’s actually going for a proper smart villain play and killing the soulless husk he leaves behind just in case he pulls a protagonist move and comes clawing back for his stolen soul. It’s Bodhi’s instability, her desire to hunt you brought on by her vampirism, that keeps you alive. After the player character becomes the Slayer, Bodhi tells Irenicus, but true to his condescending nature, he simply...ignores the PC, writing them off as someone who is going to keel over any second due to their lack of soul, completely oblivious to the fact that Bhaal’s avatar was the Slayer, and it’s clear that something is replacing the void that he left within you. The PC must effectively turn that dismissiveness against him, by releasing the imprisoned mages within Spellhold, from the powerful but mostly harmless Dili to the megalomaniacal Tiax. Yet this hard-fought battle does not end with Irenicus’s death and your victory, instead Irenicus goes to pursue his other, as-yet unknown goals while he sends another band of cutthroats to die at your hand.

Yoshimo is sort of my feelings on this Irenicus’s Spellhold plot writ small. As powerful as Irenicus is, he really doesn’t need Yoshimo, not if he has Sarmon Havarian and so many others. Yoshimo shows up in the starter dungeon, and is useful if a bit obsequious in a “who me?” sort of fashion. He doesn’t have a really good reason to stay with the party from a story reason that he gives you. He could have said: “Hey, thanks for getting me out. Deuces!” Yoshimo’s geas gets him to want to stay with the party, otherwise he’s dead. In that sense, it makes sense for him to want to be with the group. And as the only thief who gains levels aside from the absolutely annoying Jan Jansen, he’s useful for dealing with annoying traps, because reloading a game because your main PC tripped a trap and got petrified is certainly frustrating. Game mechanics though, interfere with this. You as the player character have control over the six-person party and if you want Yoshimo to be there, he’ll be there, and if you don’t, he’ll sit in the Copper Coronet, geas be damned. He’ll stand right there until you go back in after the Underdark chapter, in which case he flops over dead and hardly anyone cares. That’s a system engine limitation certainly, but it’s remarkably clumsy. What is good though, is Yoshimo’s regret during this. He knows he has to betray you and is forced to do so, and he genuinely likes you. The writing that happens is crisp, Yoshimo truly does apologize and Irenicus backs up his dismissive assholery by telling him to shut up. When Yoshimo confronts you in Spellhold, his writing is crisp. “No redemption, and no second chances. My heart to Ilmater.” He fights you and goes down swinging (which was annoying the first time I played because he had the Celestial Fury +3). And you can actually take that heart to Ilmater, occupying a valuable inventory space through the next chapters until you can reach Waukeen’s Promenade again, where you can choose to forgive him or not, but give the heart to Ilmater either way. It would have been saccharine to restore Yoshimo, but this way, I feel, is more powerful in a world with such powerful enchantments to see the effects on the people whose lives it ruins. So the game can be clunky at parts, and Irenicus can be as well, but there’s true craft and joy in it.

Back to Irenicus though, we get the sense of more to him when we see the intro splash screen for the next Chapter. Making a dark bargain with the drow, we see that they have captured surface elves, one of whom immediately refers to Irenicus as Joneleth, suggesting a backstory far deeper as Irenicus immediately resorts to killing the prisoner after being the one to suggest interrogation instead of immediate execution, a lashing out that seems out of character for the clinically-detached evil villain we’ve been coming to know. The backstory is clear in the Forgotten Realms, the dark elves and surface elves are mortal foes and anyone who is known to the surface elves to ally with the dark elves is a great betrayal. As the PC goes through the Underdark and comes out, they are captured by the surface elves. Through a conversation with Eldoth, it can become evident that the surface elves know more than they are letting on, such as when they are the ones who suggest holy water and stakes to fight Bodhi, despite not knowing anything about either one of them. After you slay Bodhi and restore Imoen’s soul to its rightful place, you can call Eldoth out on it. Irenicus is “the Shattered One,” an exile of the elves, and it’s here that Irenicus’s story becomes apparent.

Irenicus was a powerful wizard and lover of Queen Ellesime named Joneleth. Yet in his heart, Joneleth yearned for more power and sought to take the essence of the Tree of Life, the lifeblood of the city of Suldanesselar, for himself and Bodhi. This dark ritual nearly killed many that existed within Suldanesselar, and so Joneleth and Bodhi were punished, stripping their elven nature and immortality away from them, leaving them with a mortal lifespan, thus Joneleth became Jon Irenicus, the Shattered One. Bodhi sought to become a vampire to transgress the mortal years she had, but Jon had felt that it degraded her to that of a high-functioning beast. Irenicus’s scheme was far more grandiose if also possessing an elegant simplicity: he lost an immortal soul and so he needed to take one for himself. The Bhaalspawn was the perfect choice, powerful enough to defeat Sarevok and awaken the power within, weak enough to be captured and have the divine soul snatched away. With his stolen soul freshly acquired, Irenicus now looked to the second part of himself, to revenge himself on the elves. The dark elf invasion ultimately failed, helped out by the PC butchering the leadership of Ust Natha, but Irenicus is still going with golems and summoned demons to destroy the city, usurp the power of the Tree of Life, and complete his long ago schemes.

I... I do not remember your love, Ellesime. I have tried. I have tried to recreate it, to spark it anew in my memory, but it is gone... a hollow, dead thing. For years, I clung to the memory of it. Then the memory of the memory. And then nothing. The Seldarine took that from me, too. I look upon you and feel nothing. I remember nothing but you turning your back on me, along with all the others. Once my thirst for power was everything. And now I hunger only for revenge. And I... WILL... HAVE IT!!

When confronted by Queen Ellesime, she even asks if there was any part of him that remembered the love he had for her, and the PC sees that it’s her that was in his mind for the beautiful bedroom way back in chapter one. It was almost certainly her that Irenicus thought of when he was with his dryad concubines. And when she poses that question, he answers with the above quote, that he feels nothing. While it seems like this is a loss of depth, that he’s just a flat character, I don’t think this is the case. Irenicus had the chance to change, for self-reflection. Instead, he remembers it as all the others turning their back on him, without any recognition that his schemes nearly killed them. It’s the classic abuser mentality, how dare you make me do these things to you. When his victims tried to defend themselves, he lashed out and remembers only their ‘cruelty’ to him. It’s this that makes Irenicus, for all his great arcane might, so small. Where before he was this intimidating figure, now he’s a petty man, and fittingly, it’s here that you can kill him. Temporarily, at least, because there’s still one more dungeon. Irenicus and you are still battling for your divine soul, and after a few self-reflective quests of your own, you duel Irenicus, who dies pitiably, torn to shreds by demons as his power fails him. It fits the heroic and thematic heft of the arc. As you grow in power, Irenicus diminishes in threat. He was your torturer, an inhuman menace, then he became just a man, torn apart by tiny demons that you probably could take down by the truckload.

There’s good things to learn here. Irenicus isn’t a super-unique villain, although some of the villain tropes are personalized for the sake of the Baldur’s Gate story specifics. But he does his job admirably. David Warner’s voice work, and the special effects (pretty good for when the game came out in 2000) really was able to sell Irenicus as an enjoyable villain.

Thanks for the suggestions, Anons who were looking forward to this.

SomethingLikeALawyer, Hand of the King

#baldur's gate ii #jon irenicus #character analysis

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ilguna · 4 years ago

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Metanoia - Chapter Fifteen (f.o)

Summary: you will be crowned victor of the 75th hunger games.

Word Count; 10.7k

Warnings; swearing, mention of murder and torture

NOTES: i give reader a last name to fit the world.

uhhh long ass chapter jfc

–

You tap the end of the spoon against the table, “Maybe more gasoline?”

Beetee gives you a look, “I’ve engineered these perfectly--”

“I’m literally from District Two, I manufactured weapons. Just add a bit more gas, and see what happens, it can’t hurt, can it?”

Beetee readjusts the glasses on his face, “I suppose not.” he gets to work, and you scoop some of the carrots onto your spoon, trying not to make a face when you force them down your throat. They’ve gotten cold from how long you’ve been stalling, “You’ve made molotov arrows before?”

“Well…” you make a face, and he turns his eyes to you, “I wouldn’t say that. I’ve… experimented that’s for sure.”

Gale laughs, “What does that mean?”

“It means I’ve illegally made weapons and sometimes started bush fires because of it,” you laugh, “And I’ve never been caught, either.”

“Maybe you shouldn’t be in here.” Beetee mutters.

You roll your eyes, “As if I would willingly do work now. Just telling you to add more gas was a bore.”

Beetee screws the top back onto the arrow, being careless with it to see if it’ll explode or whatever. Which means that you should definitely put some distance between you and the psychopath here, you’re not too fond of being inside of a molotov. No matter how small that arrow is, there will be a ton of fire.

“Give it a shot.” you motion at Gale, “Seriously.”

“It won’t set the studio on fire?”

“You’re talking to the two engineers, here. Go ahead before I do it myself.”

Gale picks up the crossbow, and then takes the arrow that Beetee is offering him. While he prepares everything, you swivel around to face Gale, while Beetee has to turn the entire wheelchair to see.

“I’ve been trying to make a trident for Finnick.” Beetee begins, the two of you watch Gale prepare, the people on the other end of the room have fire extinguishers ready to put the fire out as soon as the arrow is fired.

“Don’t make it look like an actual trident, keep the design as close as possible to the one he had inside of the arena.” you scoop up another spoonful of carrots, “And make it hollow in the middle, it’ll be easier to move around--and you can make it compatible that way too.”

“Ready?” Gale asks.

“We’ve been ready.” you eat the cold, slimy carrots.

Gale fires the arrow, and right when it hits the bullseye, it explodes into fire. The entire target, the wall behind it, mostly the floor and some get onto the ceiling too. The crew runs forward, putting out the fire before it can spread across the entire room.

You look at Beetee, “See? Not too shabby.”

“Know any ways to make them waterproof?”

“Wax, water rolls right off of it. Don’t lay it on too thick, and you’ll be just fine.” You set the empty tray onto the table, “

“They should have sent you down here sooner.” Gale says, coming back over, “Imagine how much faster all of this would have been made.”

“Beetee would have gotten fed up with me, if he isn’t already.” you say, stretching.

“You’re not too bad to be around.”

“You only like me because I make your weapon engineering much easier. I’m able to catch your mistakes before you even make them.” you tuck your legs in.

He ignores what you said, moving on to Gale, “How’s Katniss doing?”

Gale doesn’t give much of an answer, “Recovering.”

“Let me guess, she’s still mad at you?” you raise your eyebrows. For this, he tells you to shut up. You shrug, getting back to the sketch you were working on for your own personal weapon, “Hey, if you can’t see how out of line you were, then that’s your deal.”

“How was I out of line?”

You place the sketchbook on your knee, “Dude, you called her fiance weak for doing what he could to stay alive. Obviously you two are still pretty close after that, but I wouldn’t have made a comment like that.” you pause for a moment, looking at Gale, “Then again, you don’t know what it’s like to be under a microscope, you can run your mouth all you want, because you were nothing but a coal miner.”

Gale practically rolls his eyes, “I know what it’s like, Katniss had to start calling me her cousin.”

“Katniss was the one being watched, don’t flatter yourself.” you go back to what you were doing.

“She’s right.” Beetee chips in, “(Y/n), I mean.”

“Right.”

The sound of boots on cement makes you look up, expecting Gale to be the one walking away. He doesn’t normally like to take shit from you or Beetee. Coming down here is like a safe place, allowing him to vent and blow steam when he gets to test out the new fancy weapons.

Gale stands right where he was before, which means that it’s someone else. And since Beetee can’t walk, you turn around in the chair to see who it is.

It’s Finnick. His hands are in his pockets, with a gleeful smile on his face, “Good afternoon.”

Gale is just as suspicious as you are, “What are you up to?”

“What was I up to.” he corrects, coming to a stop behind your chair, “It’s a surprise.”

Beetee makes a face, and then wheels himself around so that he’s facing the table again. As he gets back to work, you resume critiquing Gale, and Finnick finds where he wants to be.

“Gale, don’t get me wrong, I can sorta see where you’re coming from, but you need to see it from our perspective too.” you drop your leg, “Let’s compare you to Peeta, since you were doing that already by saying you’d never say what you said.

“He had absolutely no clue what the fuck was going on. Peeta didn’t know that there was a plan to get him and Katniss out of the arena, he didn’t know that Coin was planning on using Katniss as a symbol. The only things he did know was what the Capitol fed him to get him on their side.

“And if you still can’t see eye to eye with it, imagine a gun pointed to Katniss’ head. If you so much as step out of line in a way that Snow doesn’t like, he’ll shoot her. It’s not his family, friend or girlfriend that he’s killing, it’s yours. And if you don’t cooperate after Katniss, he’s grabbing the next dearest thing to you.” you lean back in the chair, “And before you say shit, Snow literally did that to me twice. First was right after I won my games and he killed my entire family, and the second time was when we found Tanith dead in a chair. It’s a little different for Tanith, because she was already dead, but he still tried to use her against me.”

“Okay, but what were they threatening Peeta with?”

“His life, for starters.” Finnick says, “And likely his family too.”

Gale doesn’t say anything after that.

“How’s this design?” You offer the sketchbook for Beetee, and he takes it.

“We could probably start this now.” Beetee says, “Mind doing something for Finnick, too?”

“Sure.”

He hands it back, but Finnick takes it before you’re able to grab a hold of it. Sighing, you look up at Finnick, watching his face as he looks over the page, “These are swords.”

“Sai’s.” you correct.

Finnick gives you a look, “But it says right here--”

“--that it’s basically a sword, yes, I know. Normally they’re used to disarm someone--as I showed you before. But I want some that are actually sharp. Blunt force trauma is fun, but what’s even more fun is spilling someone’s guts in front of them.”

Finnick hands the book back, “Sword.”

“Sure.” you cross your legs, “What are you here for, other to annoy me?”

“Keeping an eye on you three for the next couple of hours.” Finnick pulls up a chair of his own, mirroring your stance.

“Sounds exciting.”

Everything falls back into rhythm. Beetee goes back to tinkering on arrows, having Gale use the decoys. And the times he’s not shooting arrows, he’s sitting in a chair talking to you guys. You cough up a couple of sketches for Beetee, hoping that it’ll be good enough.

You might be the one from District Two, but that doesn’t mean you actually put things together. The legal age to actually get into the warehouses is eighteen, and since you went into the games at sixteen and won, you never really had to work. You’ve sat on money for your entire life. The only people that worked were your parents, aunts and uncles and some of your cousins.

Those same cousins taught you how to put things together before your games--obviously. During family get togethers, you’d all disappear for a little while, which is when they’d take the chance. They always thought it was so cool to pass on forbidden knowledge, and have it all be a secret between you guys.

They had this secret stash of gadgets inside of a log, and they’d fuck around with it until it turned into something dangerous. Honestly, the first thing you learned from them was the molotov, and when you threw it on a rock, it exploded and the dead grass around it caught fire.

Cue you all scooping the gadgets into your shirts and taking off behind the houses to get as far as possible. Your older cousin had a backup spot not too far away, you dumped all the shit there and got back to the house in record time. Before the firefighters had even left their stations.

It’s a wonder why you weren’t caught, cause that wasn’t the first time that area specifically had been set on fire, and it wouldn’t be the last either. The firefighters definitely had an idea of why it would always set ablaze, but never pursued it. After a while, they started to monitor the place on extremely hot days, thinking that it was the sun that was starting the fires.

If only they had known that it was a bunch of teenagers doing that shit for fun.

After a while, Beetee gets tired of the arrows and starts over to the crew to begin making the sai’s. While they’re heating up the metal, he gets to making the hilt.

“I feel like we’re doing more work than we have to.” you look at Beetee.

“Do you want it to be fucked up, or do you want it to be done right the first time?” He raises his glasses above his eyes when he looks right back at you.

“The first time.” you sigh.

When you get back to work, Finnick moves in closer, curious as to how you’re designing his new weapon. Every now and then he’ll point out the practicalities, and weighing in on how he would rather it be built.

“This doesn’t even look like a trident anymore.” you hold the journal away from your face, and turn it so it’s long-ways since the entire trident spans over both pages, “It’s basically the opposite.”

“But think of it this way.” Finnick reaches over, touching where the blades of the trident are, “Initial stab, right? But the rest of this does more damage.”

There’s a spear point at the top of the trident, which isn’t the problem. That’s pretty normal when it comes to the design. However, instead of wanting all the other blades facing up and towards it, he wants it downwards.

“And you can even make it compatible!” Finnick grins.

“At least we agree on one thing.” You pass the journal to him, “Go ahead and show Beetee, he’s the one in charge.”

Finnick goes over, and it’s basically halfway across the room, since Beetee is hovering over the crew’s work like a hawk. He wasn’t playing around when he said that he would like it to be perfect the first time around.

“Finnick’s into you.” Gale says.

“You say that like he’s not my soulmate.” you give Gale a look, “Also, I’m not into Finnick.”

“Why?”

“Because I’m not a teenager and I don’t date people right after they broke up with their girlfriends.” you turn back to Finnick to see that he’s discussing the weapon with Beetee and a crew member.

“If there was no Annie, would you have dated him then?”

You squint, “No.”

Gale laughs, but doesn’t say anything because Finnick is heading your guys’ way again. He drops the journal in Beetee’s workspace on his way over, “Beetee will start it tonight.”

“Cool.” you get up, picking up the lunch tray, “Am I free to leave now?”

“Yes,” Finnick says, but he makes a point to stay in front of both you and Gale.

“See ya later, Beetee!” you shout, “Send someone if you need my help.”

He waves, and then goes back to hovering.

Finnick starts up the staircase first, and Gale walks beside you, “Any progress on Peeta?”

Gale rolls his eyes, you can feel it, “Same as he was before. I saw him before coming here.”

“Katniss still saying no?” you look over.

Gale nods.

“That’s reasonable, I wouldn’t want to go near him either…” you trail off for a moment, and then laugh to yourself.

Finnick glances over his shoulder curiously, “What is it?”

You chuckle a bit, “Out of everyone, I’m definitely last on the list of people he wants to see.”

“Why’s that?”

Your smile is small as you look at your feet, rather than up at Finnick, “I nearly killed Peeta.”

“After the birds? I know--” Finnick says.

“No, after. After you had been pulled out of the arena, did I tell either of you that story?”

Gale says no, which is expected, but Finnick thinks about it before answerings, “We talked about emotion when you first got here, and how intense it was.”

“Well, after I left the lightning tree, my real goal was to go downhill and straight for the cornucopia. I thought that if the jungle were to burn, I would need to take my chances in the middle. On the way, I found a livid Peeta, and a strangely calm Johanna.” you smile, “Peeta started screaming at me instead, and Johanna urged me not to do anything.

“But then Peeta backed me into a rock, so when I got up, I punched him twice. Kicked him a couple of times while he was down, and then Johanna stepped in--” Finnick has slowed down now, he watches you, “--and naturally I knocked her out with a single right hook, since she’s… weak to say the least. She hit her head on a rock on the way down, and I thought I’d finish her off later.

“As for Peeta, it was just him and I.” the smile develops into a grin, “I was about to rip him apart--and I mean minutes from doing it. But then the peacekeepers came and I thought that it would be better to leave the situation as it was.”

“You’re… sadistic.” Gale says.

“I’ve heard it all before.” you say, looking at Finnick.

“At least you didn’t kill them.” Finnick says.

“Peeta knew that I was about to. Doesn’t matter if I did it or not.”

Gale laughs now, “You should go visit him to see what he says.”

“He’d probably get mad at me for not killing him when I had the chance. I’m surprised he didn’t strangle me in that hovercraft.”

“The tracker jacker venom fucked with his head, he probably barely recognized you.” Gale says.

At the top of the staircase, Finnick stops you, “We’ll see you later, Gale.”

“Sounds good to me. I’m going to see Boggs.”

You salute as a joke, getting an eye roll in return. Finnick purposely waits until Gale is gone, and then he moves out of your way, “You’re getting better.”

“At making people like me?” you ask, giving Finnick a look, “You know, a genius once told me that I’m not as dislikable as I think.”

Finnick raises his eyebrows, “A genius you say?”

“Maybe not a genius.” you laugh, and Finnick joins in, “So what were you up to?”

“You’ll see in a couple of hours.”

“Is that why we aren’t getting off on the floor we normally do?” you stare at your feet.

“We’re heading straight for the medical floor to Johanna.”

You stop on the stairs, and Finnick gets a couple of steps above you, “Did you not just hear my whole story?”

“The worst Johanna will do is run her mouth about the fact that you didn’t kill her when you had the chance. And if you don’t believe me, you can ask one of the nurses. We’ve heard her speech a couple of times now.”

“Then can I opt out and go to the dorm instead?” you start up the stairs again.

“You’re really going to leave me to talk to Johanna?”

Your eyebrows draw together, “You’re the one that wants to see her!”

“Come on, we see Johanna and then we go to the dorm right after, I promise.” Finnick says.

You hold out your pinky for Finnick, and with a slight chuckle, he pinky promises you. The two of you resume your journey up the stairs, and then he says, “Unless we talk for too long.”

You press your lips together, not giving him the satisfaction of a reaction. He laughs anyway.

When the two of you reach Johanna’s room, you hang by the door, not really wanting to go inside. You don’t like the look of the room, much less the idea of being back inside of it. Ever since you’ve been granted the freedom, you’ve made a point of not coming back to the hospital--or infirmary--floor, no matter the reason.

The other day, you cut your hand on a blade down in the workshop. The crew had wanted to call someone down to come and take care of you, and you barely stopped them in time. Over your dead body, would you be brought back here to sit and wallow in white for a couple of days.

Especially over something as childish as a cut. So, you found the first aid kit, cleaned out the wound and Beetee stitched it up for you. The crew was a little surprised how calm you were during the entire procedure but the only thing you had to say was ‘high pain tolerance’ after all your years of bullshit.

So being back here makes you nervous. As if someone will pop out from one of the walls and tie you down to a bed for absolutely no reason. You’re perfectly healthy, and the nurses and doctors knew this. Even after you had tests that came back negative for poison in your system, you were required to stay.

Finnick and Johanna’s conversation is surprisingly normal and boring. There was absolutely no reason for you to tag along, except for Finnick’s own request. The only reason why you’re here is to be nice.

As if Finnick’s read your mind, he looks at you, “(Y/n) been helping Beetee out in the workshop lately, designing weapons.”

Johanna’s eyes drag over to you, bored of it already, “She’s being helpful for once?”

You stare at her.

“She’s done quite a lot, Johanna.” Finnick says, looking back at her, “She’s the one that opened the conversation about rescuing you and the others from the Capitol.”

“For her own benefit.” Johanna laughs, “Because she can’t stand being alone. It’s why she’s kept you around so long, you know? Not because she likes you, but because she needs another soul to harvest. She’s like the fucking grim reaper.” she looks at you now, “A heartless murderer.”

You take a deep breath, and then a smile spreads over your face, “I should have killed you when I had the chance. At least then, there would be one less leech on the morphling supply.” you spit, “You deserve everything that Snow gave you, the waterboarding, the near-drowning. It’s a shame that he only kept you alive so you’d suffer and become nothing but another downer on everyone around you.”

Finnick’s head whips in your direction, clearly not expecting the outburst. You’ve been so good for so long, but there’s something about Johanna that just gets you steaming.

“I should have stomped your head into that fucking rock in front of Peeta.” you seethe, “And then I should’ve beaten Peeta to death, because you two weren’t nearly worth sacrificing my life over.” you shake your head, “You’re nothing but another morphling addict. Another victor that couldn’t take the fucking heat. If I were you, I’d just kill myself from how embarrased I’d be.”

Johanna’s been smiling at you the entire time, like she wanted this sort of reaction, and so you finish it off, “It’s probably how Blight felt too.”

Her smile drops, and her hand is reaching towards the needles in her arms before her feet have even hit the ground. You stand your ground, allowing Finnick to get her to stop because she does some real damage to her veins.

“(Y/n)--go!” Finnick’s angry, and he glares at you over his shoulder.

“My fucking pleasure.” you spit, leaving the doorway.

It was worth it. Every word that left your mouth was fucking worth it. Being nice to people is such a fucking chore, especially when it’s towards people who don’t deserve it.

You stand in the stairwell for a moment, thinking about where you’d want to go. But there’s really no place that’s safe if Finnick comes looking for you. The workshop and dorm are an obvious place, as well as the stream you stumbled upon. He’ll check with Boggs and Gale--and there’s no one else here that likes you.

You hate it here.

You thought you would be able to make this place feel like a real home and maybe even like it, but it’s not worth it. This whole place isn’t worth it to you.

Everything inside of you is a frenzy.

You have to go home.

You start up the staircase, knowing that seeing Plutarch and finding a ride would be the place to start. He might not be happy about it, but there’s really no need for you here. You’re not doing anything besides designing personal weapons that Beetee likes and doesn’t like.

Occasionally you’re genuinely helpful with dumb shit, but that’s the extent of it. Other than that, you’re miserable. The freedom you have isn’t actual freedom.

You hop up the last couple of steps, and round the corner to the door to the control room. You practically throw it open, nearly letting it hit the wall, when your hand appears between the crack to stop it.

At your appearance, a few people look over. The only eyes who stick are Boggs, Gale, Haymitch and Plutarch.

“Where’s Finnick?” Gale asks.

“Not his owner,” you go down the steps, eyes on Plutarch, “I want a ride to District Two. Your next hovercraft is mine to take.”

Boggs stands up, crossing his arms, “What about the workshop?”

“Boring, Beetee has it under control.”

“And Finnick?” Haymitch asks, “I thought you were just liking it here--”

“I’m a liar.”

Gale sighs, “Tell us what happened.”

“Johanna and I are going to end up killing each other the next time we come face to face.” your eyes land on Plutarch to see he has an eye on his watch, “So unless you feel like cleaning up a dead body, I’ll take one free ticket to District Two.”

“The next hovercraft is leaving in fifteen minutes.” Plutarch looks up now, “I’ll call in and let them know you’re going.”

“Does Finnick know you’re doing this?” Gale asks, “He’s going to be upset if we have to tell him--”

“It’s his fault for getting attached to me.” your face is serious, and then the smile spreads over your face, because of the irony of that statement. After what Johanna had said… “He’s your problem now, good luck.”

You go up the steps, heading right out the door you came in. You can’t take the staircase to the top, so you make your way to the elevator instead. You press the button, waiting patiently with a smile on your face.

The hovercrafts that they’re using to get the supplies to and from District Two are the slow type. District Thirteen is in no rush to get the crates there, so it won’t be a surprise to you if it takes more than just a couple of hours for you to get there. Or if it makes stops along the way.

The elevator arrives, you pull up the safety bar, and then step inside, pulling it back down. You punch the top floor button with your thumb, then you go to stare as the floors disappear beneath your feet.

At least back home you don’t have to act and lie for the happiness of others. Especially if your first and only stop is going to be your house in victor’s village. And if you need groceries, it looks like you’ll be hunting for food to eat. Or you might actually have to go into town and ransack the already destroyed buildings.

Most of the people that used to own the shops are probably dead, or they won’t be returning back home for a while. The entirety of victor’s village is going to be a graveyard--there might even still be rotting bodies inside of the houses. If the smell is too unbearable, you could always bury the corpses yourself.

It wouldn’t be the first time.

At the top, there’s someone waiting on the ramp. You don’t bother waiting for them to tell you to hurry it up, you start jogging immediately. The faster you get on, the faster you can take off.

“I’m ready.” you say when you get to the ramp.

“Good, take a seat and strap in.” the man follows you in.

The whole district is in ruins.

The last time you were here, everything seemed to be in near perfect condition, apart from the obvious looting that had taken place. The broken windows, and the wood splinters in the gravel could be easily looked over. But it’s much harder to see this place as it once was.

Most stores and houses that were made out of wood, and had been passed down from generation to generation have been burned to ashes or their cement flooring. There’s nothing left of them, not the furniture inside, and definitely not the foundation. If you didn’t know any better, you’d say that they were vacant lots.

If they couldn’t burn, then they were bombed. Chunks of cement and brick have now joined the mixture in the gravel. The roofs have long since caved in, and just one gust of wind makes the walls shudder. All it would take is one more bomb dropped in this area, and it all would come crashing down.

The air around you is hardly breathable too. Before you had stepped off the hovercraft you were given a mask--not the same gas mask that you’d used during the tribute center invasion--and a pair of sunglasses that would help you see through the debris and smoke.

It’s almost like fog, but so much worse. It’s smoke from fires that can’t be put out, and it’s from the bombs that are from your own district. The loyalists and the rebels are still fighting over this place. Katniss’ visit here hadn’t done much good, in fact you’d say that it made it a lot worse.

As you wander through the streets towards victor’s village, you come up with a lousy plan that’ll likely get you killed.

Coin had thought that sending Katniss here was a good idea, but it wasn’t by any means. Katniss got a bullet to her ribs, which bruised a ton of them, and put her right back into a hospital bed. They clearly didn’t think about what would happen if you mix people who don’t mind the games, with someone who’s leading a rebellion.

You’ve seen the speech, and as heartfelt as it was, it’s not what they want to hear.

Here’s the way you saw it at first; this girl from the poorest part of District Twelve is kicking up a rebellion that’ll likely destroy the system that’s making District Two rich, and the favorite. District Two thinks that they’re going to get everything taken away from them. Their houses, nice clothes and furniture, the good paying jobs.

You would all much rather send in the two kids a year--mostly because your children are prepared ahead of time, and therefore the career districts have nothing to lose--than take the risk of getting everything taken away. The Capitol absolutely adores you guys, with all that you supply them.

So, instead of having the girl that’s leading the rebellion try and convince the loyalists that they’re on the wrong side. You have someone who’s lived in the same luxury as them do it instead. How is Katniss supposed to understand how you all feel? She despised the games, while the rest of you adored it.

The outsider districts don’t understand the need for luxury and favoritism. They’ve lived on the hated side of the Capitol for a long time. The Capitol expects them to underperform in the games, so that’s why they don’t ever see the spotlight until they get a winner.

Anyway, you’re going to get to your house, change into something that says ‘living in luxury’ and then march your way to the justice building. There, you won’t ask for any sort of protection but an escort there instead. You won’t carry any weapons, you won’t pull on a bulletproof vest.

If they shoot you, then they’ll have made their choice very clear.

The gate entrance to the village is all sorts of broken. You barely push the metal door open, and the entire thing falls apart in your hands. You have to prop it up against the fence, being sure that it won’t fall over before you move on to go inside. Then, you waste no time with a quick jog through.

The fountain in the first part of the village is dry. The cement is no longer grey, it’s black from the amount of fire that must have washed through here. On the tiles that line the bottom, there’s melted coins. You’re tempted to reach in and pick one out when you realize just how bad of an idea that is.

You continue down the stone brick path after that, taking in note of every house that you pass. The doors are slightly ajar, most windows seem to be shattered, and a couple are burned down to the foundation. Most still stand though, Sorcha, Enobaria, Brutus, Tanith and Zavian’s seem to be in good condition.

As for Lyme, her house is completely gone. You have an idea that it might be because of the fact that she’s helping the rebels, and some of the loyalists must’ve gotten behind their lines to come and burn hers down specifically. As for the others, there must be a bigger story behind it.

As you come into the third part of the neighborhood, you cross your fingers as you hope it’s not like Lyme’s. You just want a moment inside of a clean house, to be able to go upstairs and find out that there’s running water. Then you’ll take a shower, get dressed in fancy clothing and put on makeup as if there isn’t hellfire around you.

It takes you a moment to find it, because all the houses in this section are still standing. And then you realize that your house is the only one that looks fresh. It hasn’t been touched by all the ash and smoke, it’s still as bright white as the day you received it. Perfect condition.

No windows are broken, the wood and cement show no signs of it being on fire at any point in time. The door is shut tight, a little stuck so you have to rattle the handle until it comes loose. You swing the door wide open, standing in the doorway as you wait to see a mess.

But it’s clean. Of course, the house has collected dust, but there’s no blood. There’s no broken vases, or stuffing all over the floor. It’s how you left it.

You shut the door behind you, locking it for good measure. As you go inside, you can’t help but to look around and gape like you’re on a house tour. Nothing has been touched, which is the part that baffles you the most. Both the inside and outside are great.

For a moment, you’re not sure why you’re so surprised that nothing had happened--apart from the fact that the whole neighborhood is disgusting. And then you remember the last time you came home from the games. With the house torn apart with dead bodies frozen in time.

“He seriously fucked me up, didn’t he?” you ask, laughing to yourself.

The house does smell pretty bad though, and the scent only gets stronger the more you head towards the kitchen. You have to plug your nose, strictly breathing in and out through your mouth, blinking away the tears that form in your eyes. It’s just so strong…

Going through the doorway, you take your time to look for anything that might be off. There is nothing, but you’re sure that it was coming from here specifically, and the second that you test the water with a breath of air through your nose, you gag. You go back to breathing through your mouth, even though you can taste the toxicity.

It’s not gas, that’s for sure. It’s something else…

The kitchen, the smell, the fact you haven’t been here--it’s the fridge. The food inside of the fridge and the cupboards are likely rotting. You can picture the mold in your mind already, and you shiver a little. Deciding that it’s better not to investigate further, you head straight upstairs instead.

On the way to your room, you can’t help but to pop open the doors and take a look inside. It’s just the paranoia now that’s making you do this. You don’t think you’ll find anyone in here, it’s just the thought of someone maybe hiding and waiting for you. A house like yours shouldn’t be in perfect condition, not after everything that’s happened.

And yet, there is nothing. Not even in your master bedroom, and not in the bathroom either. Despite this, you also lock your bedroom door, stripping on the way to the bathroom. And when you get inside of there, you lock that one too. For a second, the water in the shower runs cold, but then it turns warm.

While you let it heat up a little more, you take a look at yourself in the mirror for the first time in a couple of weeks. The mirrors that they have in District Thirteen are practically useless, they might as well not have them at all. You can barely see your face in them, and they’re permanently fogged over. At first, you thought that there was a protective film, until you realized that they were just shit quality.

Your fingers dance along the scars that cover you from head to toe. You turn your body to get a better angle, only to be disappointed when they continue. You force yourself to lean onto the counter, even though you’re so incredibly uncomfortable now, but curiosity is what’s fueling it all.

Then you’re able to see that the spider bite scars exist on your face too. They’re faint though, not too noticeable. What is noticeable, is the fact that there’s a scar that’s right beneath your eye. It’s so small that you can see it, even with you leaning over the counter.

You wipe the fog off the mirror, hopping onto the counter. You’re basically pressed against the mirror with how you’re seated as you desperately try to see what the fuck is beneath your eye. Wiping the mirror again, you take your chance to see.

C.S.

Your face twists as you back up, trying to think of who has those initials. Much less who would leave it on you like they’re marking their territory. You slide off the counter, rubbing beneath your eye, wishing that it’ll just go away, but it won’t.

Then it clicks, and you almost wish it hadn’t.

Coriolanus Snow.

You stare at yourself in the mirror, mouth hanging open as you watch the fog take over the mirror again, and your naked figure is covered up as a result.

He marked you. Snow fucking marked you like you’re his pet.

Your hand has swiped the vase off the counter before you’ve realized it. It isn’t until it’s shattered, when you’re jumping out of your skin. Even then, you’re still captivated by the amount of rage that’s running through your veins.

“Motherfucker!” you yell, digging your nail into the spot, gritting your teeth when it hurts. But it has to go. It has to be defaced. You won’t be seen as his. You don’t belong to Snow.

It’s a relief when your bare nail breaks skin. Though, more pain spikes in that one spot, and even in your eye a little bit. You lean on the counter, squeezing your eyes shut and giving yourself a moment to recover before you head into the shower.

You can’t fucking believe this.

You had always told yourself that you would be saving this dress for an occasion that you’d never be able to replicate. No weddings, funerals or parties. No victory tour, no get together, no reaping. You had to save it for something that would be groundbreaking, something that would change the game altogether.

At first, you didn’t want to pick it up for even this. Then you remembered that you have a chance of dying, and thought that was an event you’d never be able to replicate. Because you’d be dead.

And now that you’re walking to the justice buildings, holding the dress up so that it doesn’t get caught in the gravel and what lies inside of you, you’re beginning to see that you’ve got to make it count. Not the dress, but this entire encounter. If they don’t end up killing you, they’re definitely not going to let you come back again. Not peacefully, at least.

All you have to do is make them hesitate. Make them think for the rebel’s side for a second. That’s all you need. A moment of apprehension that they’ll never be able to take back. And since you’re pretty good at playing devil's advocate, this will be a walk in the park.

Seeing a sudden blast of dust and dirt heading your way, you make a home behind a building, aiming the umbrella you’re holding towards the corner that’s closest to you. It takes a moment before the dust storm comes through. The rocks pelt the plastic, and they attack your bare legs.

Since the umbrella is see-through, you’re able to tell when it dies down. You don’t wait to make sure that it’s over completely, because you never know when another gust will roll on in. At some point in time, you recognize the streets that the scouting group had brought you through, so you take that carefully.

You’re still fairly surprised that Paylor and Lyme hadn’t taken your statement of a survey group into consideration. And if they did, then that didn’t last as long as you thought it would. It’s literally only been two to three weeks since you were here last.

You guess that just means that they can’t spare the people as much as they could before. Which says a lot--that they’re losing the battle they swore that they’d be able to win. Coin said in one of her speeches that it wouldn’t be easy, and it would take a while. And here you are, thinking that you’ll be able to change their minds in a day.

“Watch this.” you smile to yourself.

You go around a corner, only to stop dead in your tracks. Standing right in front of you are some pretty armored people, holding a gun pointed straight at your chest.

“State your name and business.”

“I see Lyme’s upgraded her shitty guards.” you give him a smile, “(Y/n) Rosecelli.”

He lowers the gun, “You’re supposed to be in District Thirteen.”

“It’s not as glamorous as it seems.” you say, continuing your way down the alley, “Quite boring. Is Lyme in the justice building?”

“Yes, I can bring--”

“I’ve got it.” you cut him off, leaving him behind you.

“I wouldn’t recommend going that way.”

“Whatever!” you shout, going right out.

The steps to the building are pretty wrecked, but there’s just enough stone for you to be able to go up them. You hike the dress up a little higher, stomping your heels when you step, as you try to get the gravel and glass off your shoes. The people standing outside the building seem confused at first.

“Excuse me.” you say, moving right past them as you head through the doors.

You take the stairs up, still having an iron grip on the dress. You won’t let it down until you’re standing in front of rebels. You swear on everything.

You pass a third set of guards on your way inside of the meeting room that they had used the first time. When the door pops open, you can see a familiar face on the hologram screen. Alma Coin.

Paylor and Lyme look over simultaneously to see who’s entered the room.

“(Y/n)’s here.” Lyme says, standing up now.

“Good.” Coin says, “Won’t you join us?”

You make a face, stepping inside and shutting the door. You don’t head that far inside, sticking rather close to the door, but still in sight of the camera.

“Finnick’s been looking everywhere for you.” Coin tells you calmly, “We just broke the news to him.”

“And?” you ask.

“He’s disappointed that he went through all that trouble to throw a party for you.”

So that’s what he was doing earlier. Throwing you a party, and for what? God, you can’t imagine the headache you would have had through the whole thing. Fake a smile, pretend to like it. The only parties you do like are the types that go on inside of the Capitol.

It’s all lavish there. The foods are delicious, the sweets and the sour foods. The drinks they have that you swear are going to make you dehydrated, but you drink anyway. The people there are always so friendly, even when they aren’t. They’re so stupid and naive that it makes it enjoyable to be around them.

Not to mention they worshipped you.

“Am I supposed to care?” you ask, crossing your arms, “Can’t be a very good party with your district. The entire thing is probably being attended by a total of ten people, and the food and drinks are twenty years old. I’m not missing out on anything, trust me.”

Coin bites her tongue, smiling, “Maybe it’s best that you’re back in District Two, then.”

“I’m done talking to you.” you give her a mock smile, turning to Lyme and Paylor, “I’m going to solve this whole loyalist problem for you in a second. Do you want to send a camera crew with me just in case it works?”

Lyme’s confused, “No offense, but what makes you think it’ll work? Especially with your mouth?”

“Cause I know you guys have been approaching it all wrong, and rather than having a second person fuck it up for you ingrates, I’ll do it myself. I may be selfish but I’m also open minded and have a way of words when I’m not being a complete bitch.” you look at Coin, “And if it does work, you don’t get to say you planned it at all. I’m not Katniss, and I won’t be easily manipulated.

“On top of that, you’ll also owe me a shiny, brand new apartment in the heart of the Capitol. Otherwise you can take that propaganda footage and shove it up that ass of yours.” you point to Lyme and Paylor, “Camera crew, now.”

You leave the room after that, and Paylor approves the camera crew, asking one of the people in the room with them to go ahead and gather the people. In the meantime, you take a look at yourself in the nearest bathroom. Your makeup and hair are still how you left it, and the dress isn’t that dirty either.

When you get outside, there’s people already waiting to take you to the tunnels. And for their protection, they’re bringing volunteers with them. As for you, you’ll be out in the open just as you asked for.

“I live in luxury.” you tell yourself, raising your head a bit, “I belong in the Capitol. I am a loyalist. These rebels have no idea what they’re doing.”

You take the train tracks straight to the tunnel. The mountain has long since collapsed, which drew out most of the loyalists. And with Katniss’ speech after, a few surrendered. But there’s still plenty of people inside of there.

“I don’t know if we can follow you inside.” one of the girls tells you nervously, “It’s dark and unhealthy in there. If they begin firing, we’ll be the first to be brought down.”

“No, I will.” you say, “They’ll likely let you all live. If those cameras zoom well, keep as much of a distance as you can spare.”

The girl nods, “We trust you.”

You press your lips together, because it’s a first, “If I reach for my dress and turn my body like I’m going to run, you should take off immediately. I don’t plan on running, but I will if it gets too risky.”

“We’ll keep an eye out, I promise.”

Inside the tunnel, it’s even dirtier than you expected. Nonetheless, you all push through. The camera crew and the couple of armed people have masks over their face, but you work right through the dirt and smoke filled air. Even if you put a mask on now, you’ll have to take it off to talk anyway. There would be no point to it, you’re going to breathe in the air whether you like it or not.

“Stop!” A voice shouts, and you all come to a halt.

“Stay here.” you tell the crew.

Lights turn on, you cover your eyes for a moment as you blink through, trying to get adjusted to them. When you lower your hand, you can see that there’s several people ready to shoot you, and what looks like hundreds of people ready to back them up. The lights are coming from the train right in front of you.

“My name is (Y/n) Rosecelli, I’m here to speak to whoever is in charge, face to face.” you move forward, but stop a little bit after that, not wanting to push your limits.

Someone appears on the top of the train, an automatic rifle in his hands, “You shouldn’t be in here.”

You drop the dress down now, “No, I shouldn’t. This place is unfathomably filthy, and I can’t imagine how hard it is to breathe the air in here. What’s your name?”

“Jovian.”

“You know why I’m here, right?” you ask, crossing your arms, your eyes wandering over all the people waiting to see what happens.

“It’s pretty obvious, which is why I should let you know it’s not going to work, and you should leave while you can.” he tells you, “Or I’ll just make an example of you, just like how we did with Katniss.”

“Except Katniss is still alive in District Thirteen, you didn’t actually kill her.” you tell him, “Healthy as a horse, she was up on her feet the same day, ready to come right back here and give you guys a second chance.”

They won’t know you’re lying.

“We should’ve gone for her head.”

You ignore that, “There’s a big difference between Katniss and I, though. Katniss grew up in the poorest part of twelve, and I grew up in what was arguable once the richest parts of District Two. And then I won the games and got more money than I knew what to do with, and she didn’t have any time to get to realize her luxury.

“Because of this, she’ll never understand what you’ll have to sacrifice if you do take part in the fight. You’re putting everything up for a gamble. Your house, your clothes, furniture, a family. And you’d have to do it without knowing the outcome of a rebellion.”

Jovian nods slowly, “You get it.”

“Of course I do, I was once a Capitol pet too, and then Snow ended up killing my family, and then my friends on top of that.” you motion with your hand, “And I saw the type of people that we were supporting all this time. They’re nothing worth supporting, Jovian. I can promise you that.”

Jovian shakes his head, “What if you lose, huh? The district is already in deep shit because half of us are rebels, what if there’s a chance that the people who don’t fight with you, get rewarded?”

You snort, “You think he’s writing down names? You think he gives a shit if some of you were helping, and the others weren’t? All he’s going to see is that District Two had tried to help the rebels, and suddenly we’re all fucked. So why not give in? You know what will happen if there are no more hunger games, no more districts, no more districts versus the Capitol bullshit?

“You’d be able to live wherever you want--the Capitol, here, any of the other districts, places that were off limits, maybe even in some of the arenas that had gone untouched. You would work if you want to, and have a million kids without worrying about teaching them how to fight.

“There would be no more worries, Jovian. You’d still get to live the same, but it would be that much more freedom. And even if you wouldn’t want to live in any of those other places, you’d be able to visit them whenever you want. Take a vacation to the Capitol and come home to a sturdy house. And for anyone who hasn't found their soulmate because they exist in a different district, you’d have a greater chance of finding them.”

The silence that fills the tunnel is surprisingly calm, it isn’t as tense as you thought it would be. Jovian is obviously thinking all of this through.

“But we can’t win this without District Two. If we get those warehouses pumping out weapons, we’ll win this, guaranteed. It’ll be difficult, as all wars are, but we’ll win for once. We’ll get the justice we deserve, Snow will pay for all the shit he’s done.” you insist, “If you guys come with me now, there’s no hard feelings.

“There’s food, water, clothes, medicine. All you’d have to do is come with us now, and we’ll get you cleaned up, one at a time.”

Jovian looks down at you, “And you can promise us this?”

You look behind you, straight at one of the guards, “Get Paylor to confirm this.”

It takes a moment, but when her voice comes over the tunnel, echoing, saying all of what you said is true, you can’t help but to give a hopeful look to Jovian.

He takes in a deep breath, “Okay.”

“That’s just you, though.” you look to all the others, past the lights, “How about you guys? Are you willing to fight?”

“Will you be fighting with us?” someone yells to you.

This question you weren’t expecting, but you find yourself nodding before you can catch it, “Every step of the way.”

“Then sign me up.” A girl starts coming forward, behind her trails a couple of kids, they come in a line, all holding hands. She walks right past you guys.

It takes a moment before others start breaking off in groups. Jovian gives you a look, “These are my people.”

“They’re our people now.” You correct him, “And they’re going to be safe. Pack the hurt into the train and get this baby moving out here.”

You turn around, heading towards the camera, “Is it still running?”

“Yes.”

You look straight into the camera lense, “Twenty-three kids have died every year for the past seventy-four years. That’s one thousand, seven hundred and one kids that have died in the hunger games. Nearly two thousand of your kids have gone into an arena, scared and alone.

“They wouldn’t know where their next meal would come from, they didn’t know if they would get sponsors or if they were worthy of them. They likely shivered and starved and were dehydrated down to their very last days. And while it was happening, all they could picture was their blue face in the night sky, signaling another fallen tribute.

“And you’re telling me, that now there’s a rebellion happening--one that will stop a cycle of heartless and meaningless murder--you’re not going to help? You’ll finally be able to have kids, and not worry about training them the moment that they’re born. No more staying up all night worrying that it’ll be your kid picked during the reaping.

“But we can’t get there if you don’t help.” You then lean a forward, “And Coriolanus, if you’re watching, I’d like to let you know that I found the scar you left on my face. You can mark me all you fucking want, but I haven’t done your bidding since I was sixteen. How’s this for calming down District Two?”

You stand up again, “For those of you who don’t know, my name is (Y/n) Rosecelli, I won the sixty-sixth hunger games when I was sixteen. I’m from District Two, and I have to admit that I have lived in luxury since the day I was born, and coming to terms with a rebellion that has ruined my whole lifestyle, isn’t easy.

“However, if I can see past all my greediness to realize that it’s unfair that I can live in luxury and others live in dirt, then you can too. There will be no more inequality, everyone will be able to live in a stable environment, and if you don’t want that, then you’re just as ill as Snow is.”

You turn to leave after that, hiking up the dress in the front so you don’t end up stepping on it and make a fool out of yourself in the process. It’s a couple of moments before the others are scrambling to follow.

“Are you really going to fight with us?” The girl asks.

“I said I would, didn’t I?”

She’s quiet for a moment, “You just don’t look like you’d been into that type of thing.”

You look at her, “Don’t be fooled by the dress and makeup. I’m a lot more than a pretty face.”

“We’ll have to get you fitted for clothing, then. You can’t march to the Capitol in a dress.”

You end the conversation, not saying anything else to her. What she said is obvious, you know that you’ll have to be dressed properly. Hell, you know what’s happening in the Capitol at the moment.

Nothing slips past you. You hear everything when it comes to secrets. You knew Johanna had been waterboarded because she failed some sort of swimming test, nearly took down a couple of people during her panic. And you knew that her and Blight were a little more than friends too.

Just like how you know that the Capitol is turning into a whole trap. Snow is planting these pods—as Beetee called them—that are near impossible to keep track of. Snow is pulling in the Capitol citizens closer, allowing him to plant more pods. Hundreds of them, every single day.

Which means that if you go out there with the other volunteers, there’s a good chance of a million things happening to you. You can’t even think of what the gamemakers would put into the streets of the Capitol. All you know is that it can’t be good.

They might as well throw in every single project that they’ve ever created since they won’t be able to use it against you all in the future. And in that case, you might not want to be in the streets of the Capitol after all.

Right when you leave the train station, there’s a giant dumpster waiting for the people leaving the tunnel. They’re forced to give up their weapons so that they can pass into the team of medics that are waiting. As you get closer, you’re able to see that there’s no struggle. Most give up their weapons without a fight, but some are a little hesitant to do so.

You and the camera crew pass by it easily, none of you are holding a significant weapon, and if you are, you’re all rebels anyway. They’re not worried about you guys turning on them, it’s more like the newly rebels that are just coming out of the tunnel.

Past all the disarming, is the group of medics that wait for everyone who makes it past the tunnel. It takes a bit for you and the camera crew to get through the dense crowd that only gets bigger. Just before you break the last line of people, you can hear the train’s horn, warning everyone that it’s coming.

Then, you get through.

Waiting on the other side of the crowd is Lyme, with a particularly impressed look on her face.

“Maybe we should have sent you in, initially.” Lyme says, “You did it effortlessly.”

“If any of you had bothered to tell me before sending Katniss in, I would have told you it was a bad idea.” You take a look behind you, “And by the way, this is a perfect example of what you should do when it comes to the Capitol citizens.”

“Want to be put in charge of that?” Lyme offers.

Your head whips towards her, “I will not play devil's advocate for them. That’s your fucking problem to sort.”

“It was just an offer.” Lyme says, but you’re already leaving towards the justice building again. Lyme’s quite taller than you, so it takes basically no effort when it comes to catching up with you, “While you were gone, Coin had someone flown in.”

You can’t help but let out a snort, “Oh, whoever should that be?”

After what you said to Coin, it’s no surprise to you. She would pull some bullshit like this to make you angry. It’s just her little form of payback.

“He’s waiting at your house.”

You look at her, “You had him escorted to my house?”

“He wouldn’t shut up about it. Gave him basic instructions to get to victor’s village, and then told him yours is the only one that hasn’t been touched.”

“Speaking of which, why is that?” you fix a curl that’s fallen into your face.

“Honestly, no clue.” Lyme says, “Good luck with Finnick.”

“Right.”

Lyme and the camera crew break off when you reach the justice building. From there, one single person brings you as far as they’re allowed to go into the town part of District Two, and then they head back to where they had been standing before you stumbled along.

You’re nearly home when your feet start to ache from the heels. And if it weren’t for the fact that the dirt is mixed in with glass, you might have taken the heels right off and walked barefoot the rest of the way. Before the rebellion, you definitely would have done that. Regardless of how people would feel about it.

Victor’s village still looks shitty, there’s not much to expect from it in the first place. It’s not like it’s going to have changed in the past hour or two. Although, you thought that you might find Finnick poking around in the abandoned, charcoal black houses.

Through the first arch and into the second reveals your perfect house. The door is shut--so it looks like Finnick knows his manners--and you don’t waste time going inside.

Swinging the door open, you make a point to slam it shut when you get inside. You don’t even move from the doorway before you’re tearing the heels off your feet, massaging them one at a time. Then, you head upstairs to your room.

If Finnick wants to speak, Finnick can come and find you. He invited himself to District Two, he was able to find your house, he’ll be able to find you.

Or rather, the other way around.

Finnick’s lounging on your bed when you walk in. In his hand he holds a book with your face on it. You can’t help but roll your eyes--that book was forced on you by Snow. He thought it was a good idea to draw in more attraction to you. And unfortunately it worked, and after that, you spent a couple more weeks than you were meant to, inside of the Capitol.

Of course, it ran short when everyone heard about your sour attitude, no matter what time of the day it was. People revoked their… reservations, and you were forced to go home.

“Welcome.” you say bitterly, opening the wardrobe doors and tossing your shoes inside, then you unzip the dress from the back with little to no problem.

“So the friendliness didn’t last long.” Finnick sounds amused, but when you turn to look over your shoulder, you can see that it’s not how he’s feeling. There’s a hint of a scowl on his face, maybe some touch of annoyance.

“Thank god.” you hang the dress up, then you close the wardrobe door and move onto the bathroom.

You tear off everything that you wouldn’t normally wear. The bracelets, earrings, rings. The only thing you leave is the necklace Tanith gave you, otherwise it’s all gone. And as soon as you get into the bathroom, it’s tossed into the jewelry drawer, which is absolute hellfire to sift through.

Finnick follows you to the bathroom, and watches as you remove the makeup, unphased by the fact that you’re half naked again, “Did you actually mean any of it?”

You pause for a moment, “Mean what? What I said to Johanna? Every word, she fucking asked for it. Antagonizing me and all that, she should have seen it coming.”

“The apology.” Finnick clarifies.

“I meant that, yes.” there’s no hesitation.

“That’s all I wanted to know.” he turns and leaves the bathroom.

“So now what?” you call, “You’re going back to District Thirteen?”

Finnick laughs, “Dream on.”

You roll your eyes, “It was worth a shot.”

“Your house smells like shit, by the way.”

“It’s the kitchen, feel free to clean it out if it bothers you that much. I just figured that this house would be blown to bits the second Snow gets a chance because of what I said.”

“Speaking of which.” Finnick comes back, he’s got some clothes for you hanging over his arm, “The front lines?”

You scowl at him a little bit, “Did anyone ever tell you it’s rude to go through someone’s clothes? And yes, the front lines.”

Regardless, you pull on the shorts and shirt after tossing the makeup wipes away. You unpin your hair, letting it all fall into place unnaturally, which causes you to just pull it right back up into a ponytail anyway to keep it out of your face.

“I was hoping you wouldn’t say that.”

You side-eye him, “Let me guess, you’re coming along?”

Finnick smiles, “You know me better than I thought.”

“No, you just have a thing for following me around, so I figured. Just like how Lyme didn’t even have to say your name, and I knew you came.” you grin a little, “How was the party, by the way?”

“Surprisingly boring without you there.”

“You’re saying that I’m entertainment?” you ask.

“The best.” Finnick smiles.

#ilguna #finnick odair #finnick odair imagine #finnick odair fanfic #finnick odair x reader #finnick odair oneshot #finnick odair metanoia #metanoia #metanoia chapter fifteen

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splicejunction · 4 years ago

Note

Please tell me about shatterstar's Childhood

oh my god anon okay I’m assuming in context of what I’ve recently posted you want like... my version of events rather than what’s canon but just in case I hope you know that there’s basically zero canon material that actually describes his childhood/young adulthood beyond “I was a warrior born” or whatever the fuck. if you want to know about that idk go on the fucken... marvel wiki page or something

also--I hate that I have to put this out here and I doubt anyone would actually do this but just in case--I have spent like 1 million hours thinking about this because I have brain disorders and it is very close to my heart so please do not A) use this in fics, etc without letting me know/getting my permission in advance or B) reblog this post

anyways. this is a can of worms so I’m going to do a cheeky lil

first we have to get something out of the way: I hate the “shatterstar’s his own grandpa” paradox. I am sorry if this angers people but it makes me mad so I ignore it. the reason it bothers me is because it means alison blaire essentially married her grandson, which is A) weird and B) bad from a genetics perspective.

in my version of canon ‘star IS the biological child of longshot and dazzler but longshot wasn’t cloned using ‘star’s DNA because..... oh god... another whole separate post can be made about this but... in my head, on mojoworld the way genetic engineering works is not really the same as it is here. here genetic engineering generally means taking an existing genome and inserting or deleting genes. this is how they make, for example, animals that glow, or confer pesticide resistance to plants.

but on mojoworld I think the way they genetically engineer is more like... the way we mechanically engineer. like the entire organism is built from the ground up. there’s a master genetic blueprint which is essentially the “minimal genome” required for a functioning humanoid. this was created by study of Earth humans by arize and the other genetic engineers. they can then go in and customize by adding elements to the genome that code for the signals/building blocks that control things like height, strength, hair color, eye color, having hollow bones etc. so in my head longshot was sort of... designed with ‘star as the inspiration, but not directly cloned. that wouldn’t even make sense anyways because A) different hair color and B) LONGSHOT HAS 3 FINGERS ON EACH HAND and shatterstar has 4!! thats NOT HOW CLONES WOULD WORK!!!!

(side note, the concept of a minimal functional genome is a real thing in biology! some scientists have taken a bacterium that already has a small genome and reduced it to the minimum size required for viability. here is a wikipedia article on it and here is the original paper (DOI: 10.1126/science.286.5447.2165) which I can explain in more detail because I took a class on synthetic biology which this technically falls under and I had to read this paper very closely).

fuck I’ve written 4 paragraphs and not even talked about his childhood yet. I am so sorry. anyways. so the way I think they raise the gladiators on mojoworld is they create them in batches of 5 to 10 identical copies of a certain “model”, place each copy in a different “class” with a set of 2-3 mentors/teachers, and train them to fight until they are 13 or 14. until this time the only names they have are the names that identify the “model”--like for shatterstar that would be gaveedra-seven where the model identifier is “gaveedra” and he is (in the lore that I have come up with) the 7th of 8 total.

the reason they create multiples and put them in different classes is each mentor is going to have a slightly different style of teaching which is going to work better for some and worse for others, so it allows them to have more mass production while increasing the chances of creating a truly great champion. it’s classic nature versus nurture--the genetic engineers create your nature, but you don’t end up exactly the same as others of your model. maybe you get an edge, maybe you don’t.

another thing that happens is different mentors believe in different ways of raising the kids in their care. shatterstar specifically was raised in a class where there was absolutely zero emotional development at all and no attachments allowed beyond fighting alliances. that’s not the case in all classes, and it also had the effect of making him somewhat of an outsider even within the other gladiators as he got older.

at 13 or 14--and yes I realize this is very fucked up but dude its fucking mojoworld idk what you expected--they start participating in fights. the first ones aren’t to the death and they’re as teams and they’re not usually televised they’re more like high school sports games that are attended by scouts (here, they’re “sponsors”--I think that’s a canonical term but I honestly can’t remember) and if you get sponsored you leave your class and join a new “team” that’s really just a bunch of people who all have the same sponsorship. this is where things can get interesting because they’ve all been raised with slightly different fighting styles but more importantly, slightly different degrees of Personhood.

also at this point I should mention that by this time, there are usually only 2, maybe 3 of each model left. either they died or were recognized as not having talent so they were sent to eventually fulfill other roles in the network. in ‘star’s case there was just him and gaveedra-five. once you get to the stage where you’re sponsored and you’re actually fighting to the death one of the first people you’ll fight is any remaining members of your model group.

by the time you’re the only one left of your group, you’re also eligible to earn a stage name. this usually happens if you have a particularly epic fight with a lot of viewers, you win and the commentators will typically say something like “Let’s give this crowd a real name to cheer!” and they’ll have a few candidate names and they’ll kind of just pick one. AUGH I actually have this scene written out in story form but its too long so I think I’ll save it.... :)

after you get a name you also get a cool outfit and usually some kind of mark or tattoo that serves as a brand. this brings me to another important point--shatterstar inherited the X-gene from alison and therefore he IS a mutant. his mutation is the swords vibration thing and the glowing eye. the star mark is a tattoo and teleportation is benjamin russell’s mutation (how he fits into all this is... for another post). basically after he got his name the costuming department guys were like “hey your eye glows, you look like the Legendary Warrior of Old, Longshot, we’re gonna pattern your look after him” so they gave him the star tattoo and the outfit that’s literally inverse colors of longshot’s.

also this brings me to another aside: you’re probably wondering “if he’s the biological kid of longshot and alison how are there 8 gaveedras?” when the genetic engineers got a hold on him as a baby they were like Sick! free baby! free genetic material! thats our job done for us! so they cloned him (in the traditional sense) and made 7 copies. this was also to kind of conceal his identity as technically being from outside mojoworld, which would make him stick out and thus be a target. they DID edit out the x-gene in the other gaveedra models though. this wasn’t a problem for ‘star because his mutation didn’t manifest until he was already sponsored.

I think that’s .... pretty much it for macroscopic lore on what it was like to be a kid gladiator on mojoworld. now let me give you some Tidbits of his life specifically:

like I said he was raised in a particularly cold and ruthless class. the mentors that raised him are like well-known by everyone to produce some of the best warriors but also there’s discourse on mojoworld because some people say perfectly emotionless killing machines aren’t as fun to watch. when he was sponsored there were 4-5 others in the same sponsorship and they were like Theres Something Wrong With You LOL

they speak earth languages on mojoworld because they’re imitating the broadcasts they (the spineless ones) used to hear from earth. however, most of the lower-class as well as almost all arena fighters and other television personalities speak cadre or other languages which are native to the planet. the stage names are all vaguely in english, but the gladiators don’t really understand them at first.

shatterstar got his name before he got the glowing eye, and when he learned what stars are, and saw his eye as a little star, he was like wow :) this is Me :) which is why that name is so important to him. it’s also one of the first things that wholly belonged to him.

(you can’t see stars on mojoworld because of light pollution and also because it’s a pocket dimension and there just aren’t that many stars to see)

I hate to bring up the s**ley miniseries but I do think it would be interesting to have him have a sort of ... mentor/first friend, similar to the concept of gringrave but they were NOT in a relationship. it was more like... another kid who was a year or so older than him got a soft spot for him and helped him not be so clueless. she didn’t make as much progress as xforce did, obviously. but they were.... something like friends.

unfortunately she was used by spiral to get shatterstar to murder the first rebel guy who tried to get him out of there. then she got switched sponsors (this can happen) and he had to kill her, and he was like well I will simply never develop any kind of attachment to anyone ever again.

he almost didn’t make it out of the first training session with his sponsorship group (this is semi-canon--there’s a reference when he’s teaching terry to swordfight to almost not surviving the first time he was in a gladiator class or whatever it was).

the closest he ever came to losing was the day he got the name. that’s why the crowds loved it so much.

the double-bladed sword was a gimmick weapon but when he got his mutation they realized it works way better if there’s resonance between two parallel blades so they redesigned it as an actual weapon.

(forgot this but I feel like I should include it) at 17 he escaped the arenas and joined the cadre alliance. two years later he came to earth and joined xforce.

I think that’s going to have to be it for now because it’s literally almost midnight and I have work tomorrow and I did NOT intend to stay up this late but I did. thank you for this opportunity anon :) feel free to ask me any other questions and also I realize a lot of this probably makes no fucking sense and that’s because I am not a writer or anything I’m just a biochemist with brain problems that cause me to obsess over stupid shit

#answered #shatterstar #GHKDJFDKHGRJ I KNOW THERES SOMETHING WRONG W/ ME THAT THIS FEELS LIKE EXPOSING MY SOUL....#Anonymous #long post #NSCU #<-thats my new tag since other people have asked about this #it stands for nadine shatterstar cinematic universe

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clansayeed · 4 years ago

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Hey Jack! I wanted to know what your thoughts are on Rheya. Was she really a villain to you? Were her motives justifiable? Was she a good villain? Did you think she deserved to have a redemption arc in chapter 16? What could have been written to make her have a better character story? Any thoughts at all about Rheya!

FOREWARNING: Anon... I accidentally wrote you a 2500 word essay. I shit you not this thing is 2,528 words long. So... I don’t know whether to say you’re welcome or I’m sorry. Just letting you know in advance.

ADD-ON POST-POSTING: I’m fully aware this is an app game. A three book series written with sexying vampires in mind. Where the medium is limited both size and content-wise, where you can’t go into much detail because they can only have so many panels in a chapter, etc. Still thinking what I think though. And if you get paid to create content professionally the least you can do for your own paycheck is go back and double-check your work.

Actually this ask came at a good time since I have to work on some character motivations for her for my series... and I always break down the in-canon versions before working on my own. So anon, let’s talk... are you a mind reader?

Kidding! mostly

So. Rheya.

I actually just finished my first replay of book 2 and at the moment I’ve only ever played book 3 the once. I played it as it was releasing so there were some memory gaps in some places and needed-refreshers in others. But on a whole I have similar thoughts about Rheya as I do Xenocrates, and you can find those thoughts here.

Overall she was a solid setup, good design and potential, and PB pretty much wasted her execution.

I wanna start with a genuine question to the fandom since I’ve never actually been able to ask this... but y’all like... totally saw the Bloodkeeper being related to her coming, right? Like I was so convinced of it that when it was revealed in some big dramatic point at the end I was like “yeah... they told us this...?” and it turns out they fuckin didn’t??? Like I could not understand the people who were like super into her sprite like yes she looks good but here I was thinking she was our ancestor from the get-go so I was... confused to say the least.

Not gonna lie when they started pushing in snippets of Rheya’s past trauma in book 2 (things like her yelling “you know what they did to me/took from me” which is paraphrased but you know what I mean) I really hoped they weren’t gonna do what they did. So of course they did it.

But I wish they’d like... just given her the kid. Just give her Iola and leave the weird suddenly random husband out of it. At this point we know Gaius has an unhealthy idolatry for her, we know Xenocrates adored her in his own way in his youth... but we know fuckall about Demetrius up to and including his existence until literally book 3. Sloppy, IMO. They took something not being mentioned and used it to put in a plot device when the omission should have been strategical.

TBH I thought the whole “you know what they did to me” was gonna get hella dark RE: Rheya and King Kaelisus’ obsession with her. That’s as far as I’ll go there.

But you have a Priestess, a known Priestess, who was definitely faithful enough not to stray even when she thought she was walking to her own death. It’s pretty easy to assume (as I did ngl) that she would be completely devoted to Phampira, including romantically/sexually. It would have been a good setup to explain why she never gave Gaius the goods if anything.

And there’s nothing wrong with having said Priestess have her own family while still being devoted. I just wish PB would have used some fucking forethought and hinted at that earlier on than they did. Because they didn’t hint. They dropped this random fisherman-something husband on us and told us she cared enough about his opinion to make him part of her advisory board but not... to like... mention him in any of her conversations in any of the flashbacks... including those in which he would have been alive.

On that note the whole timeline there is really messy, they obviously threw him and Iola in later on after some things were established/couldn’t be taken back. I’ve studied this shit extensively and it’s really muddled exactly how long Rheya ruled, when shit went down with her family, how much time had passed when Xenocrates staked her, etc.

I would have loved for Iola’s father not to have been there. Give me a strong woman, a strong single mother, who would burn the world for the loss of her daughter. Doesn’t matter who did the deed, Iola was hers and the Sons/Order took that from her and the world would have to pay the price.

If I had been given that I would end all of my complaints right here. I would, genuinely. Because then her descent into madness, her paranoia, her megalomania would all have been explained. And they still technically are but -- maybe it’s just me -- there’s something about her having to factor in Demetrius that just... takes me out of it. IDK.

I didn’t mind the guy... though him being a talking tree of doom was a little much for me... though by that point I had accepted the plot was off the goddamn rails and just kept nodding and going with it. But his presence made the story okay when his absence could have made the story impactful and powerful and emotional. That’s just my thoughts. Which you asked for. You did this.

No takesies-backsies.

Was she a villain? Hells to the yes.

It’s a classic case of obtaining ultimate power and abusing it; of crossing the line between justice and vengeance. Not that she wasn’t justified in her freak-out over the death of her family. But everything after up to and including her fatal feeding schedule was totally unnecessary. For a villain, yes necessary.

For a vampire goddess who could have easily used Gaius’ influence over the vampires of the modern world to form a cult following around herself with an open dialogue about her big ass appetite and probably would have ended up with swaths of willing adorers ready to lend their blood to her cause thus eliminating the need for secrecy and subsequent feeling of betrayal...

You tell me.

I feel like she was definitely more than a little hyped up though. Not even going into my whole-ass issue with the entire Unchained plot and thus the first like 4-5 chapters of book 3, she was hyped up in myth and kind of a let down in person. She could FLY. Walk in the SUN. Heal the DYING. She’s vampire JESUS.

*ADDED IN LATER: She took out THE ENTIRE ORDER OF THE DAWN, WHO HAVE RAVAGED THE VAMPIRE POPULATION FOR LITERALLY 3000 YEARS since they were around in her time after all IN LIKE A THREE-MOVE COMBO BREAK. ALL THIS SHIT THEY HYPED WITH THE ORDER and their entire ERADICATION isn’t even an ON-SCREEN THING. Unless you pay.

Dude if they had kept Xenocrates and the Order and used the two of them against each other; the Order’s long-standing influence on the modern world versus the new world Rheya wanted to create with the human populations not knowing the history behind their hatred, where like the first half of the book is Rheya and MC and gang taking out the Order and Xenocrates only to find out in the middle point that she’s been doing it for selfish reasons and they were on the wrong team the whole time and THEN Rheya becomes the big bad... I would have enjoyed the shit out of that.

Anyway. “She’s vampire JESUS...” and her big evil plan is to... suck face on national television? IDK. It didn’t play the mood right for me. I can see from a writer’s perspective how they kind of played out all of their options and went with a quick and easy solution... but it didn’t work for me. That’s a no from me dawg.

Do I think she deserved a redemption arc? I don’t think anybody deserved a god damn redemption arc, unless they are done with extreme care and attention to detail before/during/after said arc they go horribly, and overall tend to be the plot device pick of lazy writers.

And I take nothing back. No like I think I might have gone into how much I fucking hated Gaius’ “reDEmPtiON aRc” before or at least I have somewhere and to someone. Probably Sofia... no most definitely Sofia. But anyway. They spend TWO GOD DAMN BOOKS hyping Gaius as this ultimately irredeemable bad guy.

OMG I was literally playing the book 2 finale and got a quote hold on... HERE. Adrian literally says about Gaius in 2.16 “It’s like there’s no humanity left.” And that’s just one actual example of the tons of times they make him out to be devoted to Rheya of his own volition, the ultimate example of the line between believing in something and being blinded to everything by it, etc. Like a huge chunk of Kamilah’s and Adrian’s arcs RE: Gaius are about how he was definitely a monster, he turns the people around him into monsters, and while they have worked their asses off to be good and right their wrongs he has not, will not, and would not ever do such a thing.

Then suddenly he’s brainwashed, tried to turn Rheya down and was made into a loony toon because of it, and everything he made MC’s loved ones do that they blamed themselves for but needed to blame him for is suddenly Rheya’s fault and now we should blame her for.

Mmmmmkay sweetie. I’m good, thanks.

But really -- that was the last straw for me when it came to both Gaius and Rheya. There’s a difference between giving the villain something they see as a just cause (ex. Rheya avenging her family) and giving the villain a cop-out that absolves them of guilt (ex. Gaius and... everything about him). Like yes I know MC didn’t have to forgive him, I know Kamilah didn’t really forgive him, but it’s pretty fuckin obvious from how it was put out into the world story that the writers were trying to lean you towards blaming Rheya and letting Gaius off the hook.

I mean... making him save Lula for real when Rheya saved her for fake earlier on in the book, using Lula as a stand-in metaphor for her own child daughter that she finds out she was the cause of her death for, etc? That symbolism is so transparent I could put it in the asset database.

And I’ll only briefly touch on this since I could write a whole other essay on the matter RE: PB and their fucking constant repetition of this, but “let’s give both bad guys similar moral quandaries but suddenly reveal it was a consent issue and the woman is wholly to blame and now gets the man’s crimes piled on with her own” is super common in fiction and hella. fucking. sexist.

But that isn’t to say all of this is necessarily bad.

When done right, everything I’ve complained about above can be a part of a really good story. What “done right” means is different for everyone, everyone has a different example and different thoughts on it. These are mine. I think the better term would be done well. It was not done WELL.

But given things like PB’s weird obsession with redeeming the attractive (apparently) bad guy, PB’s history with narrowing a woman down to one trait or part of her (ex. Rheya’s power corruption centered around her role as a wife and mother and not... a super all powerful vampire goddess...), their obvious lack of attention to detail and overall lack of vision when it comes to the big picture* and more, I personally don’t think they knew what the fuck they wanted by book 3 and were already well into transitioning into whatever adultery-obsessed lingerie shenanery they’re fixated on now; so much so that it’s almost a disservice to the writing done in earlier book 1 and a decent chunk of book 2 when calling it a whole series.

*I keep bringing this up only because it means I can back up stuff like this with real examples of theirs: these guys did not write the plot of this series as a cohesive story. I get that, as a writer writing a big series myself I get the fuck out of that. But you have to solidify some things early on in the development process in order to avoid writing yourself into a hole or, like with this, having to result in trope-y plot devices that work in theory but on paper don’t give the story the full-circle fulfillment it deserves.

Their timelines are out of whack, they contradict themselves in quite a few places, constantly wishy-washy their own lore, and definitely didn’t go back and double check if they’d said something already... and that’s not including where they focused on the details of one unimportant thing and left another more important thing to just be “and this is the way it is moving on.”

I literally have no way/idea how to summarize any of this bullshittery going on in this ask. Did I like Rheya? The character personality, design, and overall idea as this big ass badass power/hungry goddess demanding fealty was pretty cool. Did I like Rheya when they narrowed her story down to her grief over her family (which, again, is valid, but just seemed really disjointed and rushed when compared to everything else they had given about her/shown of her by the beginning of book 3)? Not... as much.

I think they wanted her to seem like she could be redeemed. I mean FFS in the “big battle” she literally just stands there and lets you do the thing. 3000 years imprisoned and however many centuries before that spent taking the power that she was denied all because some bad dudes in masks killed the mortal husband and daughter you would have eventually lost to old age anyway...? And she just stands there???

Even knowing she was really behind Iola’s death they could have stuck with the “madness consumed” plotline and had her be like well... what’s done is done back to taking over now thank you.

But sometimes a bad guy just has to be a bad guy. Rourke from ES, mister capitalism -- can’t remember them trying to redeem him. If they had I don’t think I would have liked it so much. Who else... UGH. Thomas in NB. Crazy zombie man wants all monsters dead because one killed his family (can we stop using dead families for grief porn please and thanks...) another example of a useless villain. Hence why I removed him from my NB rewrite don’t even get me going...

What’s his face in TCATF! Luther! You join up with him and he still tries to kill you in the end! Now that was fucking classic. Hex, who suddenly is forgiven for the literal enslavement of a race of people and the thoughtless murder of a civilization that didn’t agree with her.. and all because she was ‘like a mother’ to the kid genius? Not so much.

I could go on and on and go search out tons of examples but in the end the one thing you can say PB does well is that they stay consistent in their ideas of redemption, of who deserves it and who isn’t, and just how far they’re willing to stretch the fucking story to forgive a character if 1. the sprite is hot or 2. the sprite had a little sprite family somewhere in there.

legit just talk to me about bb/nb

#; ask jack #diving in depth: bloodbound #rheya apostolous #re: bloodbound #bloodbound #consent tw #;; like just a brief sentence about it but wanted to tag accordingly #;; also fair warning this is LONG AS FUCK ANON #;; and in many places real damn preachy #;; so I'm sorry in advance and in no way expect my thoughts and opinions to be the only ones #;; and know much of my thoughts are colored by my experiences and others have their own valid thoughts and opinions #;; which should be a given but I just wanted to put it in writing just in case #;; you know how it be #Anonymous

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villainever · 6 years ago

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"I See You Got What You Wanted": Niko & Villanelle's Relationship + What Gemma's Death Means for Villaneve

i think it’s fairly safe to say that gemma’s death in 2x07 has been one of the most controversial of villanelle’s murders. in this mini-essay, i want to look at the eve-niko-villanelle-gemma dynamic, why villanelle might’ve killed gemma, what that means for the show’s plot, and for villanelle/eve. although in my last post i talked about how villanelle and eve DON’T have an “i / it” relationship, villanelle certainly does position most other people in the “it” category. eve is an exception, not the rule – unless someone really captures villanelle’s attention, she doesn’t really bother to contextualise them as more than an object, or in gemma’s case, a tool.

villanelle is aware of gemma before eve is, and meets her minutes after, as one of her many characters – one specifically designed for interacting with gemma. remember, this is 2x03, and even though raymond has told villanelle that eve isn’t interested in her anymore, she doesn’t believe him yet, because a) she doesn’t view raymond as a reliable source, and b) eve came to julian’s house when villanelle called her, even though they ultimately missed each other. at this point, villanelle is happy with her and eve’s progress, and understands that they’re more connected than they’ve ever been (“she [stabbed me] to show me how much she cares about me” / “sometimes when you love someone, you will do crazy things”). but one obstacle remains between her and eve: niko.

i believe her actions at this juncture reflect how seriously villanelle takes her relationship with eve, and its potential future. because the obvious, easy answer to someone like villanelle would be, “kill niko”. it’s fast and efficient and neatly removes him from the equation. BUT. villanelle has learned from killing anna’s husband that people don’t just bounce back from having a partner murdered, even if they were already having an affair with you. so villanelle takes killing niko completely off the table; she doesn’t want eve to hate her, to resent her even years later, like anna did. notably, though, her first strategy is NOT to tell him about the stabbing, and to try and make him hate/distrust eve. she tries the carrot, not the stick.

“squirt your perfume in his room so it always smells like you. flatter him. make him doubt his wife.” not only is this transparently from villanelle’s playbook (lmao), it’s an attempt to give gemma a viable plan to solve everyone’s problem: gemma seduces niko > niko leaves eve > eve is single > villanelle and eve rail each other into the next century (i can only assume this is how villanelle’s brain works lol). gemma gets niko, and presumably both are happy and far away. and most importantly, villanelle gets eve for keeps. i think this is probably the max of empathy we can expect from villanelle when it comes to two people she literally couldn’t care less about except for their roles in eve’s life. however, villanelle’s massively impatient. her idea doesn’t work instantly, probably because she’s overestimated niko’s willingness to abandon a long-term relationship for new possibilities and chemistry – and who can blame her, seeing as she’s making her calculations based on eve’s readiness to do the same when villanelle comes into the picture. anyway, villanelle isn’t getting instant results, and then the game changes: eve doesn’t come to amsterdam. villanelle’s suddenly freaking out, because god, what if eve’s not into her anymore, when villanelle still so crazy about her?

so after meeting up with eve in 2x05 – which confirms yet again that this thing between them isn’t something villanelle can bear to lose – she shifts it up a gear, and tells niko that eve stabbed her. it’s the pincer approach: on one side, there’s gemma, looking sweet and simple, and on the other, eve, appearing increasingly grey and complex. obviously, that’s a very easy choice for villanelle, and she’s hoping it is for niko too, only in the opposite direction. everything that makes villanelle like eve more, makes niko like her less.

then niko and eve hook up in 2x06. villanelle probably kicks over every trash can along the street and taps on all windows creepily to scare people until she feels better. after this, she’s a bit petty with eve until eve reveals that niko left. then it’s all genuine effort at AA, and “maybe eve’s lonely, i should text her”, because hey, the window is open, and impatience cuts both ways. she’s not going to lose the opportunity.

by 2x07, things are going well between villanelle and eve, but villanelle wants reassurance, and insurance. she’s tying up loose ends – getting the recipe, making sure gemma and niko are riding off into the sunset and leaving her and eve alone. side note: while villanelle tells niko that she wants the shepherd’s pie recipe because “eve likes it”, i think it’s also because to villanelle (who loves food) it’s a significant piece of the memory of her first proper meeting with eve in 1x05. she might be hoping it reminds eve of this night too, but even if it doesn’t, villanelle likes it, and it has all-round positive associations for her.

anyway. villanelle asks niko if he loves gemma – no, he doesn’t. he loves eve. “of course i do, she’s my wife”. in this scene, after he says that line, villanelle’s eyes get shiny, like they did in amsterdam, almost like she’s about to cry. ive tried to grab it in the screenshot, but it’s hard when it’s not a gif.

here’s the thing. i don’t think villanelle would’ve killed gemma if she’d waited until after rome to have this confrontation. why? because in rome, it’s pretty clear that even if niko’s not over eve, eve is pretty much over him. when niko leaves, eve says, “don’t leave me alone!” crucially, this line, this FEAR, isn’t really about him at all. eve’s relationship with villanelle is so volatile that she hasn’t made the leap yet, unsure of the landing. niko is her safety net. we’ve been shown all season that eve’s basically bored with him, and has been since pre-villanelle (“you’ve missed [teacher’s night] for three years”), but she keeps him around so that she has someone. at this point, eve isn’t certain whether she has other people in her life, so she doesn’t want to lose him.

EXCEPT. seeing him with gemma at her house kind of puts him in a new light, and eve’s abruptly faced with exactly how normal he is, and how different they are. earlier that day, she and villanelle were running an undercover op, and villanelle killed someone in broad daylight (at least a lil to impress eve), but here niko is, hanging out with someone who collects music boxes, and is painfully ordinary by contrast. it’s enough to get eve to walk away, but her decision is affirmed in rome. hugo’s more than happy to sleep with her, and far more significantly, villanelle is too. eve’s suddenly available, but villanelle hasn’t lost interest now that the chase is effectively over (they’re hardly enigmas in different countries anymore; they work together and text and have conversations about jealousy). with niko gone, eve ISN’T alone. and i think eve will find that life without a safety net is even more of an adrenaline rush, plus now there’s nobody to slow her down or question her (questionable) decision-making. she’s not thinking about niko AT ALL, and he’s barely crossed her mind this season anyway. but rewind to pre-rome, and villanelle sees an eve/niko reunion as a possibility. now, i really doubt niko would’ve told villanelle he still loved eve if he’d realised it was the wrong answer. in fact, i believe he thinks it is the right answer for villanelle, because he fundamentally misunderstands villaneve’s relationship.

he still thinks it’s a cat-and-mouse, power-trip thing. in season 1, he accuses eve of getting off on being the only one who can predict villanelle (not landing on the fact that it’s villanelle herself eve likes, not just the rush of a high-stakes mission), but even with villanelle saying, “we’re more than friends”, his “what are you talking about?” is actually in response to her telling him she’s forgiven eve – he’s asking, “forgiven her for what?”. niko doesn’t get that villanelle and eve are inherently romantic, albeit in an unconventional (and twisted) way. he does infer that villanelle cares for eve in some way, so i think he incorrectly adds it up, and comes to the conclusion that in 2x07, villanelle’s come to see him and gemma because she’s mad at him for leaving eve, and has come for revenge on eve’s behalf. but she’s not there for revenge, she’s there for closure. and he turns around and does the exact opposite of what she wants. so she kills gemma.

even though many of us were expecting a recurring character death this season (i saw some speculation around hugo, particularly), gemma’s death wasn’t exactly predictable. while villanelle killing people is very par for the course with this show, and killing eve does an excellent job of using close narration to warp viewer’s morality while they watch (another essay in that point), gemma evoked a lot more of an emotional response than villanelle’s typical marks. i think this is for a few reasons. firstly, even though she was far from the show’s coolest or most interesting character, gemma was nice and considerate; she tried to shoot her shot, but she never pushed niko to cheat on eve, and when she met eve, she was kind (and friendly to villanelle too when she was “kim”). secondly, she was really normal – most of killing eve’s cast of characters feel exceptional, almost fantastical in the best way, but gemma was someone you could meet in real life. lastly, gemma didn’t opt-in to any of this; unlike bill, nobody warned her of the risks, and her life was completely extrinsic to the main plot – from her perspective, she basically got killed completely out of nowhere. villanelle won’t kill people eve cares about anymore. she killed bill, when their relationship was nascient, but in 1x05, villanelle telling eve “he was slowing you down” is what prompts eve to reach for the knife that first time before villanelle pins her to the fridge. but eve dislikes gemma, so villanelle decides this is unlikely to have negative repercussions for her.

is she intending to frame niko for murder to eliminate him permanently without killing him? maybe. she did use materials she found on-site (i.e. crime of passion). but villanelle has a certain flair for narrative, and i think if she was trying to do that, she probably would’ve staged some kind of scene to make niko seem more guilty (e.g. a domestic dispute). that said, the murder did have less of her usual drama, so she might be trying to keep it realistic for niko to have done. if yes, this was a bit risky, because it might pull niko into the MI5 investigation, and put him in proximity to eve. what i think is most likely is that, just as villanelle has positive associations with niko’s shepherd’s pie, she’s trying to give niko a negative association with eve. trying to ensure that every time he looks at her, he sees gemma dying for no real reason, sees the harsh reality of the path she’s chosen, and can never be truly close to her again. if it’s niko’s choice to stay away from eve, then eve will be less mad at villanelle – she might be more cross if he got falsely imprisoned. this way, she’ll see him as someone who can’t hack it, just as she already does. and he’ll see how she keeps going on, relatively untroubled, and his image of her as “the best person [he] knows” will be irreparably shattered. so will eve be mad about gemma? im not even sure she’ll find out about it this season. it seems like there’s a lot going on in rome next episode; it might not even come up. honestly, given eve’s current development, i’d guess the consequences will be eve acting huffy at villanelle for a few days in a way that villanelle will weather in relatively good spirits, knowing that once it’s passed, they’re in the clear. eve doesn’t care about gemma, maybe even dislikes her, and if she was able to move past bill’s death, then this is unlikely to bother her that much. with eve, we are able to more and more often see these “i / it” relationships shine through, and to eve as well as villanelle, i think gemma is an “it”. carolyn will probably make this mess go away, to keep her own plans sailing smoothly.

gemma’s murder also has the symbolic value of the death of normality, specifically eve’s normality, which she’s been drifting further and further from over the whole show, but particularly this season. gemma’s body literally has “fragile” written on the murder weapon: eve’s ordinary existence was always fragile, because eve didn’t fit. she’s a sociopath, and her life was a performance that was suffocating her, just as gemma suffocates. personally, i liked gemma, and was quite sad that she died. while i was shocked when it happened, the longer i’ve had to reflect, the less i feel that surprise. part of what makes killing eve fresh is that it doesn’t pull punches, and it’s not interested in trying to make villanelle more human, it’s interested in seeing how far it can take her and still have us love her. given the fates of bill, frank and nadia (she even shot konstantin), this was hardly out of the left field for her – the most notable deviation is that gemma’s death was her last resort, not her first idea. just as eve is changing, villanelle is adapting too. ive mentioned a few times that they’re meeting in the middle, and this is another step towards that. now, for anyone who actually made it through that slog, i have one more point. villanelle is really hung up on niko’s moustache, and i think that’s a great choice from the writers’ room, to have the thing she uses to identify him as being something explicitly masculine. to villanelle, niko is just The Man. The Husband. The “i / it” relationship here is between villanelle and a moustache.

this mini-essay is for @enter-the-mind-of-a-degenerate , who asked in the comments of the last one. if anyone else has any requests, inbox me or reply to this post :D also any and all of your comments give me life, and i have so much fun reading them/the messages you guys send me.

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the-gemini-cores · 5 years ago

Text

Blue Sky Analysis (Wheatley Redemption and Sky Motif)

Let me start off by saying:

The summer solstice took place during the week of Blue Sky.

In Chapter 1 of Blue Sky is the following quote:

“It was a spring morning, just before dawn, fresh and mild.”

Later on, Waffles wrote a short story in response to one of @oodlesodoodles drawings of Eaden’s journey back from Aperture. You can read it here.

She wrote the following:

“Most of the town settled down to sleep in the long grass by the road, wrapped in the thin blankets they’d gathered from the Relaxation Units, thankful for the warm breezy summer night.”

Kind of interesting, no? For the start of Blue Sky it’s spring, and not long after Chapter 15 it’s summer.

So, in the U.S…

So it definitely took place near the end of June for that year. Ironically, the turning from spring into summer is called “midsummer,” as it’s when the summer solstice occurs.

(As said above, these are specific to 2020 - the solstice’s average date is the 21st. Although we can’t be certain of the exact dates in Blue Sky, the change in seasons clearly demonstrates a solstice was present.)

I’m not sure if the turn into summer was written intentionally, but I like to think that it was for purposes of symbolism.

Cue the analysis!!

The summer solstice is when the sun reaches its highest point. In Waffles’ writing, Wheatley has likened both GLaDOS and Chell to the sun:

“Then there was the sun…up here in space without the protection of all that white wispy stuff around the Earth it was an intense, cold-yellow glare…Harsh, pitiless, and unblinking; it reminded him too much of Her.” (Chapter 1)

“Her whole face came alive when she laughed; not in a scary brilliant, born-puzzle-solver-and-stuff-breaker sort of way, no, this was a different thing altogether. It was like sunlight in the facility, like suddenly seeing a patch of bright blue sky clear through a gap in the cage of panels and realizing you were much, much closer to it than you’d thought.” (Chapter 6)

So, what’s the connection? Why are they each compared to the sun?

Well, I think it’s safe to say at this point in his story that Wheatley sees both GLaDOS and Chell as powerful, near-infallible figures that would/could definitely crush him if he made a wrong move. They are constant, immovable, major influencers who play at odds but on a similar field.

Take GLaDOS, for instance. Wheatley is quite obviously fearful of Her and what She can do to him, which is consistently portrayed through his dialogue in-game when he’s not attached to the chassis. In Blue Sky, his fear appears from the moment Her voice is heard while falling to earth-

“That Voice. The dread of it- the dread of Her- was hard-coded into his artificial heart-roots…his emotional processor found room for another sour jerk of sick fear.” (Chapter 1)

-and amplifies as She holds him captive. Even after Chell rescues him and he is far from Aperture, Wheatley has trouble just talking about Her to Aaron on Chell’s behalf in Chapter 5. As if uttering Her being is wont to get one into trouble…In a way, it’s almost like fearing “God”, as GLaDOS is referred to in Chapter 1. And She sort of is, with the power She holds over the subjects and cores in that facility, and also the inferiority complex She’s contributed with dragging Wheatley into.

“‘I’m sorry, I’m sorry!’ ‘Oh, I believe you.’ More jointed arms folded around him from below, their connectors finding the docking ports on his sides, locking him firmly into their grip. ‘I just don’t care. This isn’t about revenge, metal ball. We both know you are a pointless, insignificant little moron who has never done anything right.’” (Chapter 1)

Basically, Wheatley does not feel that he is on a level playing field with GLaDOS. Instead, he is taught to tread lightly around Her because She constantly exercises Her power over him, making him feel so much smaller.

The case is not entirely different with how Wheatley perceives Chell. Granted, it is a LOT different - Wheatley trusts Chell and eventually comes to realize how she genuinely wants to help him grow - but until he gets to learn her better, Wheatley views her by what he knows: Chell is an incredible test subject who has a knack for taking down power-mad AIs. Wheatley may not see himself on GLaDOS’ level, but he does see Chell there. And until he can better understand her motives, Wheatley perceives Chell, like GLaDOS, as a force that best not be messed with.

“Just speaking about the facility, about Her, hearing his own voice shakily describing everything he’d tried so hard to escape was nearly as bad as actually being back there. He wanted to stop, but he simply didn’t have the nerve- not while she was still glaring at him like that, as if daring him to make another objection.” (Chapter 5)

She can command him with a look and anchor him by just being there. In a way, Chell terrifies Wheatley, as described in the aforementioned quote that conveyed her “scary brilliant, born-puzzle-solver-and-stuff-breaker sort of” look. It’s also illustrated in how Wheatley thinks of Chell as a kind of superhuman.

“You’re not afraid of anything!’ She looked up, sharply. She might have suspected mockery, or even flattery, but Wheatley hadn’t intended either- hadn’t intended anything, other than a plain, admiring statement of fact- and it showed.” (Chapter 6)

What I’m getting at is Wheatley sees both GLaDOS and Chell almost as superior to him. Like they’re on a whole other level that he can’t quite reach - huge, celestial, god-like stars. He’d tried making his way to that level once, in the chassis, but he couldn’t handle it, and that truth resonates with him now as it did in space. He couldn’t manage the position of power that GLaDOS occupies and, in his eyes, Wheatley couldn’t stand up to GLaDOS like Chell could.

“‘Chell here is the only human that ever managed to get one over Her, and she only managed it because- because- I-I don’t actually even know how she managed it, to be honest, but it probably involved a lot of explosions. (Chapter 5)

Clearly a reference to how Chell had freed Wheatley from GLaDOS, when he was completely helpless and relied on her nearly the whole way through. He thinks of Chell as objectively capable.

Wheatley has worked himself into the idea that he is incompetent and relatively inferior to these two characters - that he’s designed to be a moron, that he can only come up with terrible ideas and there’s nothing he can do to counter that.

Until he proves himself.

You see, the sun is used to describe GLaDOS and Chell when it’s being told through Wheatley’s eyes. But when the omniscient narrator is speaking, the sun reflects Wheatley on multiple occasions, suggesting that he has the potential to join these two.

“By the time the sun had made its first uncertain, deep-orange-red appearance over the horizon, a small crowd of curious people had gathered…Wheatley swallowed. His enthusiasm had lasted right up until the moment when he’d realized exactly what Garret wanted him to do, at which point it had evaporated like sodium dropped into water, leaving stark terror in its place.” (Chapter 10)

Here, Wheatley is met with a task, a challenge that dangles over his head. And as we know, this is the day when Wheatley takes that first major step into his own. The day he gets Foxglove working, takes a chance with everyone watching, and he succeeds. He receives praise-

“Their overwhelming unconditional approval was very nearly too much for him to process, and for a choked, confused moment he found himself really wishing he could take his glasses off properly.” (Chapter 10)

Wheatley is validated not only by the masses, by faceless figures who he might see as on his level, but also by people he perceives as being greater than he, including Chell and Aaron.

“It was a look just for him, warm and open and a little wry and simply- proud.” (Chapter 10)

“Wheatley, who found it very hard to believe that a look like that from somebody In Charge could possibly be aimed at him, found it as staggering as it was unmistakable. Good job.” (Chapter 10)

Wheatley isn’t used to being nodded at from the higher-ups. He doesn’t expect such treatment from them, and yet they give it. This is a glimpse into what could be, if Wheatley continues to make steps in the right direction.

But things go awry that night. The townspeople get captured, and Chell goes off after them while Wheatley stays behind. For a very long time, he sits and laments in the dark, but then…

“It was nearly dawn.” (Chapter 13)

The sun returns. And that’s when he resolves to be brave.

Wheatley puts aside his fears and reservations, and he joins the effort, willing to sacrifice himself to keep these people safe.

I like to believe that the summer solstice took place on the day Wheatley saved Eaden.

I think it represents his ascension - profound if not permanent - in joining GLaDOS and Chell on their respective level, especially by his own perspective. Participating in the fight, becoming a real force to be reckoned with and handling his influence over GLaDOS and the facility. Doing something right.

Once in Aperture, Wheatley is no longer submissive to GLaDOS, and he is taking initiative to be by Chell’s side, choosing to aid her at his own risk. He is redeeming himself, forging his way through the panels and clouds and establishing his path into that bright blue sky, of which his residence will be permanent.

If we continue with the sky motif, we understand that it was Chell who showed him the path to redemption - the blue sky - despite his inhibitions brought about by Aperture:

“It was like sunlight in the facility, like suddenly seeing a patch of bright blue sky clear through a gap in the cage of panels and realizing you were much, much closer to it than you’d thought.”

And beyond the fears drilled into his head because of what the scientists had done, the idea that he’s not good enough, that he can only come up with terrible ideas and can never escape that truth, there is fear of Her specifically. Upon returning to Earth and leaving Aperture, Wheatley had expected a newfound border to be drawn between him and GLaDOS, as seen by the skyline and cloud cover that he thought would shield him from Her glare. Yet he was wrong about how real these borders would be, whether meant for protection from Her vicinity or reaffirming their disparity.

“Then there was the sun…up here in space without the protection of all that white wispy stuff around the Earth it was an intense, cold-yellow glare.”

“…[T]he sun…During his time in space he’d guessed that the sunlight would be less intense down here beneath the blanket of the sky, but he’d been wrong. It was warmer, but no easier to bear.” (Chapter 4)

Atmosphere could be broken. Clouds could be pierced. On the day he overcomes his fears, the sky is cloud-covered before Foxglove sends Wheatley to Aperture and clearer after Eaden is brought to the surface.

“The sky was brightening, but the day was dull and overcast.” (Chapter 13)

“Sunlight. She could feel it, warm on her face…saw a sliver of brightest blue, a hazy sunbeam falling directly across the buckled floor, through a shattered hole in the musty little window above her.” (Chapter 14)

Makes me wonder if, in this moment, Wheatley was the sunbeam through the shattered hole guiding Chell from Aperture once again, as he had 4 years ago, and just as she had been guiding him out of Aperture’s weight over the past week with her own sunlight through the panels.

Okay. So:

The summer solstice occurred sometime over the week of Blue Sky, and I’d like to say it was the day Wheatley redeemed himself. Wheatley compares both GLaDOS and Chell to the sun, signifying how he sees them on a similar plane as major influencers. He manages to find ground with them by kicking his fears - the panels and skyline and cloud cover - in the teeth and making a place for himself in blue sky using the light that Chell provides for him, and that he gives in turn when the time comes.

Nice, very nice. Very fitting with Mr. Blue Sky’s lyrics as well. Now please excuse me while I go cry.

#c's posts #blue sky #blue sky portal #portal #portal 2 #wheatley #chell #glados #a portal for your thoughts #chelley

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