#or criticism of a character but not the writing

[mama-qwerty]

Writing for "the audience" is like creating something by committee. You're not gonna make everyone happy, and by trying you're simply dulling down and sanitizing the writing to be as least offensive, and overtly obvious, as possible.

Writing--any piece of creative art, honestly--SHOULD be created solely because the creator had an idea and wanted to see it come to life. Period.

Worrying about how "the audience" will accept something is how we get twenty billion cookie cutter shows and movies and books, all looking pretty damn identical and offering the same beats, the same stereotyped characters, the same stories and dynamics over and over and over again.

It's how we get weird edits on older movies and tv shows. (Han shot first, damnit!!!)

No one wants to offend anyone. No one wants the audience to have to pay attention and use their damn brains to figure out the plot or the little details that have been put in. We need to handhold the audience and spell everything out so they understand.

Bullshit.

People need to develop critical thinking skills again. People need to watch something that they need to actually pay attention to, and not just glance at between scrolling on their phone, and then get angry because they don't understand what's going on. People need to read something that may have curse words or slurs or sex or violence in it and take it within the context of the story and the characters in it.

People are too quick to label something as "bad" or "problematic" simply because it's got something in it that they don't understand, or aren't comfortable with, or aren't taking in context.

Quit your pearl clutching, step out of your little pillow fort, and expand your literary intake. You'll never grow if all you do is consume the same thing over and over and over again. Feed your mind like you feed your body. Expand your palette.

And write/draw/create whatever you damn well want. Self-indulgence for the win.

fuck an "intended audience" how about we normalize engaging with new and unfamiliar art pieces on their own terms

[nonsensology]

Later at the wish granting ceremony, CEO Magnifico announces he’s greenlit Ice Age 6 and five more live-action remakes.

_ _ _ _ _ _ _

There are so many cancelled and unrealized projects that Disney is sitting on, that they do not benefit from in any way by keeping them locked up tight. They really ought to just let them go if they don't have any intentions of doing anything with them.

Incidentally, I could never agree with the mentality of “Magnifico is actually the hero, and Asha is the TRUE villain” that a lot of people seem to have. I drew my comic based on this post. I feel like if more people had been aware of this possible interpretation, they wouldn’t have sympathized with Magnifico.

Does Wish have bad writing? Yes, it does. And it’s because of that bad writing that every single character suffers. What I think happened is that, as a result of said bad writing, Asha became a character that’s so uncompelling and lacks uniqueness that she ends up a blank slate for audiences to project their frustrations with the movie onto. King Magnifico on the other hand, is probably the most interesting and entertaining character, due in no small part to Chris Pine’s performance, and so the audience is much more sympathetic towards him and willing to ignore his flaws.

One of Asha’s problems as a character is that she doesn’t really contribute much to the story. By contrast, Magnifico’s downfall is brought about entirely as a result of his own actions. Magnifico is in fact not a good leader, because he gives in to paranoia and temptation, acts in a very unprofessional manner, and escalates the conflict to an absurd degree.

Please note, Asha does not get upset that Magnifico refuses to grant her grandfather’s wish, she gets upset that he insinuates that her grandfather might have dangerous intentions, and because he does not have a convincing reason why he doesn’t return wishes that he won’t grant. Rather than calmly explaining his reasoning to her, Magnifico rudely dismisses Asha and then blows up at her.

If Magnifico were a good leader, he would have explained to each person WHY he won’t grant their wish, and given them advice on alternatives. As it stands, he knows full well that everyone expects their wish to be granted. It’s why they even came to Rosas, it is the literal reason he even built his kingdom in the first place. Returning their ungranted wishes simply means returning the memory of what their wish even is, and they’ll be no better off than they were before they gave Magnifico their wish.

I dunno about you guys, but whenever I watched stories that preached “be careful what you wish for”, my takeaway was never “your desires could be dangerous and you should never pursue them for fear of disaster”, I always thought the stories were telling us, “beware of anything that promises instant gratification, because it’s usually too good to be true, and will cost you more than you will gain”. While the things you want in life may have disastrous consequences, you won’t really know until you try to pursue them through your own honest efforts, and not through “magical” shortcuts. That’s how we learn and grow, through trial and error. 

As it currently stands from my point of view, when people say "Magnifico has every right to keep ungranted wishes" it looks like they're unintentionally saying, “The Disney Corporation has every right to keep your work and ideas, because you willingly handed them over. Tough luck if you regret the deal you were given. No takesies backsies!”

While I have found no evidence to confirm that the filmmakers intended for Magnifico to be a criticism of Corporate Disney, considering the inclusion of the animation sweatshop scene in Pixar's Inside Out 2, I think the probability is likely.

Please note, everyone is free to rewrite and reinterpret Magnifico however they want. He's just a fictional character after all, and fan content is supposed to be for fun. I just think it's funny how defensive people get over him. They say he deserved better, and I agree, but we have very different ideas of what "better" means. In fact, I think every character in Wish deserved better, because again, they were all victims of bad writing. Remember those deleted scenes featuring a villainous Magnifico with better writing, along with an evil Amaya that he can play off of? I'm fairly certain that everyone unanimously agreed these deleted scenes were much better than the final movie, and yet some still insist that Magnifico should have been a hero all along. I dunno, it's a funny dichotomy. 

[fixyourwritinghabits]

What To Do About Filler

I am deeply frustrated at the increasing usage of the concept of "filler" in writing, partly because how people are using it is completely separated from what it usually means, and partly because few people explain what they actually mean when a story lacks "filler."

So, in short, when this comes up, what people usually are talking about is:

A lack of subplots. Subplots are essential background to developing your story beyond the main action points. Subplots include romantic storylines, internal journeys (learning to deal with a trauma, for example), plots that are critical for secondary characters, etc.

No room to breathe (aka pacing). Keeping up the tension is a common piece of advice, but if every single scene is filled with tension, you're going to exhaust the reader (and yourself). Quieter moments allow characters to reflect, realize things (like feelings for each other), and give you space to establish worldbuilding and mood.

Rushed or missing character development. Giving your characters space to learn things about themselves, confess or realize feelings, and moments to make decisions and change are essential to a story. Defeating the big bad is important, but usually the inner strength to do so comes from the character changing over the course of the story.

I am losing the battle against using the word filler when you mean a story lacks other things. Other than shaking my fist at the youths, I suggest that if you get feedback about "filler," see if you can get specifics. Is it an issue with pacing? Character developments? Not enough description or worldbuilding? If a romance seemed rushed, at what points does the reader think there should be more interaction? Etc.

A note for fanfic writers: Your goals are often different from someone writing to publish, but hammering down what filler means can still help you as well. Narrowing down the point of your story ("in this drabble, these characters flirt without using words" or "sexy coffeeshop AU") and making sure to ask your beta readers if what you're writing fulfills that goal can help you figure out if your story is making the impact you want.

[lizzybeeee]

Me watching my Inquisitor walk off with Solas at the end of the game like :) "aw cute ..hey if Mythal hadn't told you to stop would you have murdered her,," (I haven't played the other endings yet).

This!!!

(Obviously, not murdered her personally, but he absolutely had no qualms about doing the ritual once more - knowing the consequences of it.)

Let me preempt this by saying that I wanted there to be a happy/fulfilling ending to Solas and Lavellan. I'm not a blind hater! Just someone who finds it very hard to put my own Lavellan in the place of the 'Lavellan' provided to us in DATV.

The Solas/Lavellan relationship already was kind of iffy (power imbalance, constantly dragging her culture, removing her vallaslin/then dumping her, constantly lying to her, etc...) but DAI did a great job of making you feel sympathetic towards his plight - especially after Trespasser! He woke up in a world so divorced from his own that it was unrecognizable - the people he had done so much for were suffering from the consequences of his actions, justified as they may have been at the time (stopping the evanuris). His actions led to great suffering in the pursuit of preventing even greater suffering.

Even after we learned of his plans in Trespasser, it was very much: "cool motive, still murder."

I felt sympathetic towards Solas and the implication that we could change his mind, given to us in Trespasser, gave me hope that we would be able to convince him of another path. That he could find a place in Thedas as it is now and look to the future. That was why I chose the option to try and get through to Solas, despite knowing that his plan would lead to mass death/terror if it went ahead.

I always expected the Veil to fall at some point, but i was hoping there'd be some more nuance to it than: veil gone, demons everywhere, lots of people die. Well, I was very wrong lmao.

But, if anything, the game made me entirely unsympathetic towards Solas.

The moment he started his ritual he chose the old elven empire over Lavellan - over her family, friends, home, culture, and anything else she may have loved/valued.

And he did this twice.

He chose to pursue lowering the Veil - knowing that thousands would likely die. For all his insistence of 'minimizing the damage' he went in knowing that many more people would die because of his actions. There was no justification of stopping the evanuris this time either - no excuse of not knowing the potential consequences of his actions like the first time.

He chose to begin the ritual that ended up releasing the Elven Gods - knowing full well the risks it entailed.

He killed Varric - whether by accident or not, it was by his hand.

He chose to use blood magic to manipulate Rook into thinking that Varric was alive - puppeting his corpse around in Rook's eyes and putting his words into Varric's mouth.

He chose to manipulate, mold, and guilt Rook into the old 'switcheroo' in his mind palace/regret prison

He chose to 'free' the elven people by bringing down the Veil - regardless of their feelings about it (elven Rook can call him out on this!), never mind the consequences or ramifications of a bunch of people suddenly having their bodily autonomy overwritten by now being magic/having immortality.

He looked at the devastation caused the by the Gods and still went ahead with trying to bring down the veil again.

These are the thing he does in-game - not even mentioning making the dwarves/titans tranquil, creating the blight, started the chain of events that led to SOUTHERN THEDAS BEING DESTROYED, and taking my good gear from Inquisition!

Aside from the 'all lore leads to Solas' reveal just being really dull it also does nothing to help with making me sympathetic to him as a character. The audacity of this man to say: "it was like walking in a world of tranquil" when he fucking lobotomized the dwarves/titans is wild in retrospect.

If he didn't do the ritual at the beginning, if something else went wrong and that resulted in the God's being released, I could understand why a Lavellan would still want to get through to him. It would make sense - she could stop him from doing it again at the end too! You can still have him conflicted and torn between the restoring the past or pursuing the future - but this doesn't happen!

He never chose Lavellan in this game! Hell, it's Mythal who convinces him to stop?!! He owes her nothing! He's learned nothing from this!!! He's only stopped because Mythal 'pardoned/freed' him - once again showing that he values the ancient elves/mythal over her!!!

How impactful would it have been to have him choose Lavellan over Mythal! To show us this! Mythal, who 'crawled through the ages for a reckoning' (which was retconned to her being sad about the elves lmao) telling Solas to go through with the ritual and him touching grass and saying 'no'.

It's something I feel was wildly out of character for him as well - he never came across in DAI as being subservient to Mythal, if anything the ending cutscene gave me the impression they were equals?!

After everything he did in this game - after all we learn about what he did in the past - I had no interest in reasoning/appealing with his ass. None whatsoever. My inquisitor/Lavellan asking if Solas can be reasoned with only made me regret making that choice - perhaps other people's inquisitor's would say that, but mine would not, especially after everything that happened in game.

She came across as delusional: standing on the ruins of a blighted Minrathous, the south blighted to hell, dead all around them, blight tentacles everywhere, a gaping hole in the Fade right next to them:

Lavellan: "I forgive you! All you have to do is stop." Solas: "But I cannot."

Boom! There it is.

At this point it's not romantic, it's just sad! Sad that she's spent 10 years pining after a man who seemed to learn nothing at all from what happened in DAI.

------------------------

There should have been some sort of a dialogue option with Lavellan right before you go into the big fight - she can ask you what you think of Solas, if he's truly regretful for everything that happened, and then you can give her an answer that can 'change' her approach to Solas in the end - giving the player some agency as to how their Inquisitor would actually respond to this.

Ending One: Bye Bye Bye

Rook: "HE'S A GUY."

alternatively, "Look around you! Look at what Solas has done - what he's threatening to do even now after all of this! You gave him every chance to turn away from this path. So did Varric...and look at what he did!"

Lavellan is bitter/angry with Solas: "It seems we never were people to you after all."

Refers to him as 'Fen'harel' and not Solas - dig the knife in deeper, give us angst!

"Just go. You love the Fade, don't you? Enough to do all this - enough to kill Varric for your pride in a dead world that no longer exists. We were never 'real' to you, were we?"

Solas says his goodbyes, expresses his love, and Lavellan steps back.

Solas leaves voluntarily, his 'situation-ship very much over', to stew in his regrets for the rest of his life.

Ending Two: Bittersweet Goodbye

Rook: "Girl, it's been 10 years."

alternatively, "You loved him once, perhaps you still do even now - after all he's done - but love wasn't enough. Love does not excuse this."

Lavellan is firm with Solas, does not excuse his actions, but has a bitter sweet farewell: "I had hoped…it doesn't matter what I hoped. You made your choice - it wasn't me. It wasn't our friends. It wasn't this world. You can make a choice now - if I ever mattered you. If I, if our friends, were ever real to you."

They can have a final goodbye, a goodbye smooch, and then he can go off to the Fade.

Bittersweet ending - acknowledge what they had and then provide closure.

Ending Three: Happy Ending (?)

Rook: "He didn't mean it babe. He's tots sorry."

alternatively, "He seems to regret what's happened - I've seen his memories, his regrets. He believes this is the only path he has. Perhaps you can convince him to find another."

Default Lavellan ending basically

"There is no fate but the love we share" blah blah blah

As happy an ending as it can be when you have Lavellan fuck off to the Fade - leaving behind her life, friends, family, and whatever remains of the world for an eternity.

I'm being mean but I genuinely wanted a happy/fulfilling ending for them both too - despite the fact that this game seems to want that ending as well, it did little to convince me of that. :(

I genuinely liked Solas in DAI - despite his flaws, I thought his romance was compelling and I was hoping to be able to convince him to change/alter his path. I can see what they were trying to do with him in DATV but it's so hard to feel sympathy for him when we see/know the results of his actions. The story in this game is doing anything but convincing me to give him a 'happy ending'.

'Love' can't excuse what he did and neither would my Lavellan.

Also RIP Sandal's Prophecy about the Fade lmao

[warlockcctv]

I like Jayce, my hate for Jayce is long gone, I like Caitlyn as a character. I don’t like her as a person but she’s interesting and complicated. I need it understood whenever I take shots at characters that this is also true. There are ways to joke about or criticize characters without demonizing or writing them off completely.

i really wish simple things weren't so complicated within fandoms. a character can be problematic but interesting. a character can make a mistake but not be evil. a character can hold a position of authority and still be a victim. a character doesn't have to be perfect and pure and innocent to be a victim. a character doesn't have to be perfectly pure for you to like them. liking a character who's fucked up doesn't mean you support their every action. why is this so complicated

[toscanasoups]

is this a safe space. (kind)

wanted to try my hand at redesigning melanie and even writing a little for her since we still barely know anything.... criticism ahead (NOTHING TERRIBLE)

her design just doesnt. make sense to anything. its things mashed together and its cute but the more you think about it you go "....so why is this here exactly?" it reads more of an artists oc than a character that is crucial to a story.

so i decided "heh... how do i make most of this work." it leaned more into the tv head aspect, but i decided on a design that takes inspo from cartoons i saw as a kid! like max and ruby etc. i thought using the kids show idea would make it way more fun to write her post-resurrection. im a sucker for ai/characters that learn about their mortality and boundary break. Monika and Kinito Pet are big inspos. thought her learning about the game and her part in it would lead to some fun exploration into the elevator itself and whats behind it.... and more about folly eventually. not delving into the axosun cult i really think thats a poob centric story for the game.

!!pleasw dont take this as pure criticism. i think the potential for her character is really good!! (although i admit at first i was a bit upset she wasnt staying dead as a driving force, and i have seperate gripes about other designs) i just wanted to do this for fun really fast. im excited to see how the story continues!

[pucksandpower]

I read your fanfic with Senna reader and I want to criticize you, as someone who is Brazilian: making her say a few words in Brazilian Portuguese, in a story that is mostly written in American English, is not enough to make a respectful representation of my country's culture and my people's identity. In fact, as well as being unrealistic - because nobody who is of mixed descent or knows more than one language speaks in such a way, unless they are not fluent in a language and have to communicate in it -, it only exoticizes Brazilian language and culture, which are already VERY exoticized and reduced to stereotypes, thank you.

If you're not prepared to or don't have the time to dedicate to studying a more complex representation of Brazilian culture, that's fine. But please don't exoticize it! I can assure you that it's much more respectful (and exciting) to leave everything in American English and focus on writing about the reader's connection with her father or her abstract patriotic feeling - because that's more tangible than a few words in Brazilian Portuguese.

Imagine having the audacity to criticize a fanfiction that someone spent countless hours of their own time (while in medical school, mind you) pouring their heart and soul into writing for not featuring enough words in a language the author doesn’t speak.

Imagine thinking that trying to make a few references to the Reader’s Brazilian background (in a story where she barely speaks Portuguese as is since the other main characters are French and British … and she lives in Switzerland) gives you the right to tear down someone else’s work that was only ever written with good intentions.

Should no one ever be able to write Charles speaking a few words in French? Or Max in Dutch? Or Carlos in Spanish?

If you can’t handle this, maybe reading fanfiction isn’t right for you 😊 If you’re not prepared to scroll past and keep your mouth shut if you don’t like something, that’s fine. But please don’t be an asshole about it!

Does this come off as a bitchy response? Maybe, but to be frank, I don’t care. I have no idea how some people are on such a high horse that they not only type something like that out but send it to an author anonymously. Imagine being that entitled.

[scareqrow412]

I often criticized my writing more than I would compliment it, but if there's one thing I can say is that I feel like I'm good at writing scenes where it really shows the character's development not just with dialogue, but with action as well. For example, one kid who used to bully the protagonist in high school coincidentally meets them at the same college. Only this character has changed since then as he's quiet and doesn't say much; and it's later revealed that while he should've gone to college for football he chose an academic career so that he can stay and take care of his ill mother. This moment of vulnerability for the character allows him to reflect on his past actions and sets himself a self-journey to right the wrongs, starting with the protagonist.

Hey. Stop. Sit with me for a second.

It's a Saturday and I'm sleepy. It's been a stressful couple of weeks getting ready to move into the new house, but today should be calm. And I don't feel like working too hard. You know what I do feel like doing?

If you're a writer and you see this, reblog with a compliment about your own writing. Don't use this as an excuse to self-deprecate. Challenge yourself. Take yourself seriously.

I feel like complimenting myself. And I feel like hearing some compliments from my fellow colleagues of the written word.

It doesn't have to be a big thing. You're not proving anything, you're just being rightfully proud of your own efforts.

I'll start!

I'm really good at dialogue. It's always been my strong suit and it allowed me to transfer really well into playwriting when needed. I think I strike a good balance between natural and sort of theatrical, and my banter is pretty solid.

Okay, your turn!

[olderthannetfic]

90s fandoms don't always age well. Especially when the fans can't let go of their outdated 90s-era prejudices.

:/

I'm writing a fic centering around a classic juggernaut het ship, which I'll call "Joray" or J/R for the sake of anonymity. I usually just post my stuff to AO3, but this particular ship has its very own well-established ship-exclusive fandom archive, so I decided to submit my story there in addition to posting it to AO3.

My story was rejected from the archive on the grounds that it wasn't Joray centric enough, because it contained an explicit sex scene between R and a male character I'll call W.

But the whole purpose of that sex scene is to move the J/R romantic arc forward.

In the scene, R uses W to play out a fantasy in which he imagines he's having sex with J. W is someone who reminds R of the romantic idealist he used to be before his life went wrong, so there's something masturbatory about R using W to fulfill this fantasy. R actually steals a pair of J's dirty panties and makes W wear them, so W will smell like J, and picks a sexual position where he doesn't have to look at W's face. W is happy to go along with the roleplay scenario because he actually gets off on the idea of R and J together.

Yes, it's an R/W sex scene, but the whole scene revolves around R's desire for J.

When the encounter is over, W tells R that it's clear R is in love with J. Those words hit harder coming from someone who reminds R so much of his younger, more idealistic self. It's like his own conscience is speaking to him.

At the beginning of the sexual encounter, R thinks all he feels for J is casual lust. By the end of the encounter, R can no longer remain in denial, and is forced to acknowledge that his feelings for J are much stronger than he realized.

My story isn't J/R centric enough?

Did they even read it?

The scene the archive mods are claiming disqualifies my story from being on a Joray archive is the key emotional turning point in my J/R storyline. The entire J/R romance arc that follows is predicated on the emotional awakening that takes place during this sex scene.

The rejection e-mail was super condescending, too.

The mod kept typing the ship portmanteau in ALL CAPS, like I was too stupid to understand that the archive was exclusively for stories centering around JORAY JORAY JORAY.

"This rejection isn't a criticism of your writing quality. It is simply that your story contains content that doesn't belong in a JORAY story."

I think these mods are just straight up homophobic.

They saw that there were two dicks in the bed and decided it wasn't even worth trying understand what was actually happening in the scene, or why it was included in the story.

--

[artemisia-black]

The Black Family ‘Madness’ Trope: A Critical Analysis

I will start this meta by saying I’m not the fandom morality police, and people can write and explore what they want. 

However, we sometimes need to unpack popular tropes in order to examine where they come from, what societal trends they reflect, and what literary traditions they speak to.

In this case, I want to explore the “Black family madness” trope and its implications, particularly its ties to the Gothic literary tradition, ableism, and gendered narratives of mental health. 

Importantly, the term “madness” is so profoundly loaded.  It has historically been used to dismiss, pathologise, and other individuals experiencing mental distress, stripping away their humanity and turning them into objects of fear or ridicule or a source of morbid entertainment. Even today, it often conflates vastly different experiences `(mental illness, trauma, grief) into a single, reductive concept.

When viewed in the context of the Black family, fandom uses ‘madness’ as an undefined, catch-all label. It’s thrown around to broadly explain behaviour, dysfunction, or cruelty without any meaningful exploration of what it actually entails. This vagueness is deeply problematic, as it reduces mental distress to a simplistic, monolithic concept rather than recognising the nuanced and varied experiences it represents. 

This lack of specificity gives it an almost caricatured quality, evoking characters like Renfield from Dracula, where madness becomes an aesthetic of grotesquerie rather than a nuanced reflection of mental health.

And this warrants critical examination.

1.0 The consanguinity of it all.

I have to start with science, as much of the discourse around “Black family madness” focuses on inbreeding or consanguinity, with a particular focus on the marriage of Walburga and Orion (who are second cousins)/ 

However, this idea doesn’t hold up under scrutiny—either scientifically or narratively.

Second cousins share about 3.125% of their DNA, a negligible amount from a genetic perspective.

 To put this into context, the general population shares, on average, about 1% of their genetic material with any random individual, meaning second-cousin marriages increase genetic overlap only slightly. Even first-cousin marriages, which share 12.5% of DNA, while not advised, do not guarantee the passing on of recessive disorders or significant genetic risk. This is due to the role of epigenetics and genetic variability during zygote formation, which can influence the expression of genes and mitigate the inheritance of certain recessive traits. In the case of second-cousin marriages, where the genetic overlap is even smaller, the likelihood of hereditary issues is further reduced (although it does increase the odds within a small community it’s not a guarantee). 

Furthermore, it’s worth noting that Orion and Walburga are the only example of a second-cousin marriage in the Black family tree, making it strange that “madness” is so broadly attributed to the family as a whole. 

Other family members married into other pureblood families including the Potters, Malfoys, Longbottoms, and Macmillans—none of whom are labelled as “mad” in fandom discourse.

Also, Bellatrix who often does bear the brunt of madness discourse, is not directly descended from Orion and Walburga and, therefore, wouldn’t be affected by this supposed hereditary instability (yet she is frequently framed as the epitome of “Black family madness.”)

Futhermore, we need to confront an uncomfortable truth: genetics, as a field, is relatively new. For most of human history, we had no understanding of DNA, recessive genes, or the risks of consanguinity. The reality is that most of us are far more products of consanguinity than we’d like to admit. Before modern transportation, people lived in small, isolated communities, often marrying within their local network (which frequently meant distant relatives). Yet humanity persisted, and the widespread dysfunction assumed in discussions of the Black family’s genetic "madness" is not reflected in the reality of human history.

This overemphasis on consanguinity also carries echoes of Victorian pseudoscience, where inherited “madness” was often used to stigmatise families and individuals as morally or biologically corrupt. 

2.0 Abelism but make it gothic

Finally, moving away from science (and my own flashbacks of having to wear a lab coat every day), it’s important to examine how the “Black family madness” trope fits within Gothic literary traditions—and how fandom has amplified it.

The Blacks are steeped in Gothic tropes. They are a family who has crumbled under the weight of their own hubris, trapped in a decaying house filled with bottles of blood and knives (ngl, it is a vibe). Their tragedy is almost operatic (someone really needs to seance Puccini and get him to write The Fall of the House of Black).

Fandom’s embrace of the “madness” trope often centres on Walburga’s portrait, where she is described as shrieking, claw-like, and grotesque. This imagery has been seized upon as evidence of hereditary instability within the Black family. However, it’s worth noting that canon never confirms this idea. Instead, Walburga’s depiction leans heavily on Gothic conventions, where madness often serves as shorthand for moral or hereditary corruption rather than a nuanced exploration of mental health.

This framing, while aesthetically in line with Gothic traditions, leans heavily into ableist narratives. By turning mental illness into spectacle, it dehumanises characters and perpetuates harmful real-world stigmas about mental health. Madness becomes something grotesque, isolating individuals and reducing them to objects of voyeuristic fascination—cautionary tales rather than complex individuals.

And yet, this framing isn’t applied equally across the family. Male characters like Regulus or Orion are rarely labelled as mad, despite their struggles or dysfunctions. Similarly, Narcissa, who arguably embodies the Wizarding World’s ideals of femininity (read: motherhood), is spared this label. This selective application reveals how the Gothic’s obsession with madness intersects with its deeply gendered lens, which we’ll explore next

2.1 Gothic Tropes and Gendered Madness

In Gothic literature, madness often has a distinctly gendered lens, with women’s emotional and mental health struggles frequently pathologised as symbols of hysteria or instability. This tradition continues in the portrayal of Black family women, who bear the brunt of the “madness” trope.

Some fandom interpretations wouldn’t look out of place at a Victorian doctor’s convention where they’re designing vibrators to treat “hysteria.” Female characters’ grief, anger, or ideological conviction are persistently reduced to vague notions of madness, as if their emotions are inherently excessive or irrational. Instead of nuanced examinations, their struggles are framed as aberrations, fitting neatly into the trope of the “hysterical woman.”

This framing erases the complexities of Black family women, leaning on misogynistic traditions where women’s mental health is weaponised against them. Their distress is rarely explored as a response to systemic oppression, personal loss, or ideological indoctrination but is instead transformed into spectacle—a way to dehumanise them and dismiss their perspectives.

Characters like Walburga and Bellatrix are cast as emotionally unbalanced, their behaviours dismissed as irrational shrieking rather than the product of their circumstances and choices. This pattern is far from new; Gothic literature has long used the “madwoman” archetype to punish women who deviate from societal norms.

Bertha Mason from Jane Eyre is a prime example. Locked in an attic, her “madness” is attributed to supposed sexual excesses and moral degeneracy, reinforcing Victorian beliefs that tied women’s mental health to their purity—or lack thereof. Stripped of her humanity, Bertha becomes a monstrous figure, a cautionary tale about the dangers of female desire and independence. Similarly, in The Yellow Wallpaper, Charlotte Perkins Gilman critiques how patriarchal systems dismissed women’s mental health. The protagonist’s postpartum depression is labelled as “hysteria,” and her prescribed “rest cure” exacerbates her decline.

These tropes are mirrored in the portrayal of Black family women. Walburga’s grief, anger, and ideological rigidity are reduced to insanity, rendering her a shrieking, clawed portrait rather than a woman grappling with immense loss. Bellatrix’s fanaticism and violence are similarly dismissed as unhinged madness, ignoring the ideological indoctrination and personal choices that shaped her.

Such portrayals flatten these characters, perpetuating harmful cultural narratives and the “hysterical woman” trope ultimately delegitimises women’s voices and experiences. 

The Gothic’s obsession with tainted bloodlines and hereditary madness also intersects with colonial anxieties about purity and degeneration. Victorian Gothic literature often used madness to represent racial and cultural “otherness,” dehumanising those considered outside the norm.

In conclusion, tropes like this need a critical eye. It’s important to recognise where pervasive ideas come from and what they’re perpetuating, both in fiction and beyond. These are just stories, yes, but what is fiction if not a reflection of reality? When we allow tropes like “Black family madness” to go unexamined, we risk reinforcing harmful stereotypes and flattening characters into tired archetypes

[kiwiqueen13]

 My thoughts have been preoccupied as of late worrying about https://www.tumblr.com/queenkatluv @queenkatluv ‘s whole situation. She’s the voice actor for Earth from The Sun and Moon Show / The Lunar and Earth Show, and has recently been relentlessly harassed and criticized by her so-called fans about the quality of her work to the point that she decided to quit working on the Lunar and Earth Show as a writer. I wanted to draw something special in honor of her, to kind of say sorry about how all the awful bullies have been treating her, since I haven’t done any art of Earth yet and the character is currently going through something that I personally relate deeply to.

Long story short, Earth has been hurt by Lunar in a way that’s left her in crippling pain that will likely linger with her for the rest of her life. I too have chronic pain in the form of daily migraines, and I have never related so closely to another character before. In fact, I have a headache as of writing this post, and I’m just so used to the pain I don’t notice unless I point it out to myself. The scene where she was talking with everyone else in bed about her condition - wondering what to do, wondering if it can be fixed, wondering what will happen if it will NEVER be fixed, feeling claustrophobic overwhelming dread as reality begins to sink in that the pain will never leave – it struck a chord because of how closely it reflected how I felt when I was diagnosed. It was just so scarily real to me, in a way that shows the true mark of an incredible writer.

I want to say to Kat, thank you so much for what you’ve done for this fandom. The people who don’t appreciate it just have standards too impossible to reach. You’ve done a beautiful job, and having Earth effected like this has evoked so many powerful emotions in me that I never thought possible. You’ve crafted a wonderful story, even if some stuck-up brats on the internet don’t see it ❤️

[autumnslance]

ALL OF THIS!

Also this:

But those criticisms need to be based on the writing's actual faults and mistakes: not on misremembered plot lines and assumptions. Complaints need to be backed up by actual examples from the game and/or other canon sources, and can’t rely solely on muddled memories of a play-through that happened months or years ago.

Is it lore, or fanon? Is it canon, or memes? Is it textual, or a headcanon? In character or out of character? Knee-jerk initial reaction, or considered after seeing the bigger picture?

Anyway. Excellent work and write up.

On Elementals, Accountability, and Criticism

A few months ago, I made a post that gained a lot more traction than I expected. It started out as more of a joke about an ill-conceived mentality within the fandom, where certain players think their Warrior of Light should be allowed to kill off the Black Shroud's elementals.

But over the course of several days, my activity feed was suddenly swarmed with notifications. The post had unintentionally reignited preexisting fandom discourse about the elementals, Gridania, and flaws in the game's writing.

And before I knew it, I'd spent several weeks writing an essay about the elementals, since I wanted to use the opportunity to better explain my original post's stance.

While the original essay was posted as a reply, I feel it works better as its own post. I had a lot of fun researching and writing out my thoughts on this, and I hope it might contribute positively to the larger discussion within the fandom.

What is an Elemental?

To start off, I think it’s important to go over the nature of FFXIV's Elementals. I think understanding them physically and ecologically is crucial to understanding their place in the story, as well as proving that they’re existence isn't the unaddressed mystery some people think it is.

According to Encyclopedia Eorzea I & II, elementals are naturally occurring beings that are almost solely comprised of aether. They usually don't have the complex body structures seen in other lifeforms, and are considered "semi-intelligent" in regards to their level of sentience (E.E. II, pg. 269).

A misconception I sometimes see is that elementals are an exclusive entity to the Black Shroud. But the reality is that elementals exist in various forms all over Etheirys.

As the above reference pages show, there are various types of natural elementals, many of which players encounter regularly throughout various maps and instanced battles/dungeons. Furthermore, carbuncles, egi, and faeries are also classified under this category, as they are also constructs of pure aether — essentially man-made elementals.

Because aether is the "building block" for all life, lands rich with aether will be wellsprings of vitality, while areas where aetherial flows are disrupted or cut off see atrophy in the environment (Encyclopedia Eorzea I, pg. 8). The Black Shroud's simply an area known for its prominent and powerful population of elementals.

In Gridania, the Shroud elementals are associated with Nophica the Matron, their patron goddess. This is described as them having "been sprung from Her essence", implying that they are a part of her and enact her will (E.E.I, pg. 112).

However, it's important to remember that this isn't history, but rather mythology specific to Gridanian traditions (E.E. I, pg. 112). Both elementals and Nophica independently predate these traditions, and Myths of the Realm provides great insight into just how significant that time gap is. G’raha mentions that the Twelve were worshiped even back in the Third Astral Era — approximately five thousand years before the start A Realm Reborn (E.E. I, pg. 24). He also theorizes at the time that the Twelve are even older than that, which is confirmed by Eulogia following the completion of Thaleia.

The reason I even bring up Nophica at all is because of the frustration directed towards her by certain players. There seems to be a trend where fans forget to separate the true Nophica from her Gridania-specific myths, causing them to treating her like an irresponsible parent who refuses to discipline her young children.

But Nophica isn't the elementals' actual creator. They aren't actually a part of her, and nothing they do is by her will, the same way Halone never actually hated dragons and was deeply saddened by the Dragonsong War. Demanding that Nophica "control" the elementals' behavior is like demanding a forest ranger "control" the wildlife in a national park.

Personally, I've always viewed the elementals as animals deified in worship — an opinion I believe is supported by what we know about them from the lore. Associating nature, plants, and animals with the divine is a reoccurring part of real-world religions, such as we see with ancient Egyptian gods or koi in Chinese mythology. Gridanian reverence of the elementals follows a similar formula: a naturally existing creature becomes associated with the divine in specific cultures and mythologies.

How Does One "Talk" to Elementals?

As established in the lore books, certain types of elementals possess the potential for "communication". This is an ability usually exclusive to the following beings:

Spoken: Any intelligent creature that possesses an independent language that can be interpreted by another spoken of a differing genus, including but not limited to all of the game’s playable races and the myriad non-playable races (E.E. I, pg. 288).

Voidsent: Beings from the 13th shard of Etheirys who are warped by their shard’s umbral aether and the shard’s lack of ambient aether (E.E. I, pg. 296). This is a more conditional contender, as only select Voidsent have the ability to speak.

But this "communication" is significantly different from traditional language or spoken words. A difference Kan-E-Senna made clear during the main Heavensward storyline, when WoL and company approached her for help in rescuing Y'shtola from the Lifestream.

Kan-E's statement helps further clarify the biology of Shroud elementals; not only do they lack corporeal bodies, but also the common biological senses we associate with humanity. They don't have eyes (hence why Y'mhitra had to present as a aetheric reference to find Y'shtola), and they also don’t possess the auditory systems to perceive spoken words and languages.

Which leaves the crucial question: how do you "talk" to a being that doesn't possess the senses for that form of communication?

The answer is to utilize the only thing that the Shroud elementals can perceive: aether.

To help refresh my memory on this topic, I decided to replay the conjuror/white mage quests, along with referencing the encyclopedias for more regarding Gridanian Hearers. They made for great reference about crucial elemental lore, particularly the Gelmorran origins of humans "speaking" to elementals.

Because elementals don't actually speak and can't hear the voices of spoken races, "dialogue" between man and elemental is more like a muddled psychic connection. The term "Hearer" describes conjurors with a natural sensitivity to the elementals' aetheric waves — a sensitivity that the vast majority of the population doesn't possess.

While similar in their rarity and status as "gifts" in-universe, elemental sensitivity is uniquely separate from the Echo. The Echo's "power to transcend words" is a passive ability that can fully break most language barriers, creating an "internal understanding" of another’s intentions (E.E. I, p. 15).

Hearers, on the other hand, must actively manipulate aether when connecting emotionally with elementals. It took fifty years to develop this technique and requires more effort and proper training, but it's still not as precise or accurate as what the Echo's able to do. Any "words" a Hearer translates are rough interpretations of the elementals' intent — a well-known flaw in the process that's noted in the side story True of Heart.

Hearer sensitivity to the elementals can vary depending on the individual. Some are better at "listening" to certain types of elementals over others, like the guest instructors in the conjuror quests who instruct the WoL in their specialties.

Other Hearers are simply more attuned to the Shroud elementals' aether overall. Padjali Hearers usually possess the strongest sensitivities, which is why the Seedseer — the leader of the Hearers and the Seedseer Council that governs Gridania — are almost always Padjal (E.E. I, p. 116). But even Seedseers aren't viewed as infallible; their "conversations" with elementals are also, at best, interpretations. These limitations are why Kan-E chose to share the role with her younger siblings, and why protocol for the Seedseer Council is to share their readings with each other, as different Hearers can end up with different interpretations.

A lot of this information comes to mind when I consider how elementals interact with spoken races in the game. It seems quite clear that elemental communions are meant to be portrayed as imperfect. The average person within the setting doesn't possess the ability to "speak" with them at all. Even trained conjurors and white mages don't always succeed in their communions, since frightened/agitated elementals aren't always easily "spoken" to.

Because of these factors, it really doesn't surprise me that characters have been hurt/killed because of elementals. I absolutely think a situation like that would be horrifying to find oneself in. But to me, it's not the same kind of terror that comes from a deliberate attack of spite — more like the terror of being caught in a stampede that you know you have little chance of outrunning.

Why "Evil" Elementals Aren't a Thing

Fandom discourse about the Shroud elementals is nothing new in this fandom, and I think it's pretty clear that I disagree with people who think their WoL would be justified in slaughtering them.

Are the elementals gentle and harmless little creatures? No.

But they're also not some nefarious supervillain cabal plotting the demise of humanity.

I understand that getting vaporized by an angry nature spirit is a terrible way to go. But I think the reason why elementals lash out tends to fly over some people's heads, so they just assume that everything they do is out of human-adjacent hatered or disdain.

As you might expect, elementals are extremely sensitive to aetherial disturbances. FFXIV has never shied away from bringing up the dangers of aetheric imbalance; too little aether can turn environments into barren wastelands like the Burn, while too much of a specific aspect can warp not only souls, but corporeal forms. Raya-O-Senna explains the elementals' instincts in the white mage quests, and how they value aetherial balance over anything else.

Given the nature of their existence, it makes sense that elementals would crave aetherial harmony above all else; corruption and stagnation could easily lead to not only the destruction of their forest home, but also themselves. Like many wild animals in the real world, the elementals will prioritize their survival; they'll lash out the exact same way an animal who feels cornered or threatened would.

The Shroud elementals also don't single out spoken races with this behavior. They dislike any aetheric disharmony, regardless of whether the cause of that is man-made or natural. The conjuror quests even show that their agitation can be caused by other elementals; they're just as vulnerable to aetheric corruption as any other living creature, hence why those that are corrupted must be purged in order for the forest to heal.

Despite this, there are many fans who are hostile towards the Shroud elementals, and the language they use to express that disdain definitely stand out to me as part of the problem. Whether labeling them as immature “toddlers" or comparing their actions to human abusers, these players tend to heavily vilify elementals, painting them as the intentional architects behind Gridania’s biggest problems.

But these kinds of descriptors can't — and shouldn't — be applied to ANY type of elementals. They're human descriptors. Including ones for human children that are based on understandings of human development.

To treat the Shroud elementals like "toddlers" is to incorrectly apply human traits to beings that don't possess them. They are not human children, nor is there any known "childhood" phase of their life cycle. They are not creatures that grow and develop the way that human children do; they are naturally formed clusters of aether, many of which are older than any of the game's living characters. They don't do what they do because they're immature, or lack a parental figure to teach them "right" from "wrong".

I also don't agree with comparing their actions to intentional abuse. Again, there are canon events of elementals attacking humans, and those events would absolutely be scary and traumatizing. But it's also scary and traumatizing for someone to be mauled by a tiger, or to permanently lose an arm or leg in an unexpected shark attack.

Elementals aren't children throwing an unpunished tantrum, or abusers attempting to control their victims. These comparisons inaccurately associate their animalistic traits with human-adjacent cruelty. A correlation flawed by the fact that elementals aren't humans and don't think like them.

Would you call a grizzly bear evil or abusive for attacking a human that startled it in the woods?

Would you call a swarm of wasps immature or childish when they start stinging indiscriminately, and for not recognizing the difference between the person who disturbed their nest and those who just happened to be nearby?

Would you use these terms to refer to any of the aggressive creatures throughout in-game regions when they chase after/attack you, all because you got just a little too close while on your way to another location?

We can't predict what wild animals are going to do or control how they react to our presence in their space. Once one perceives you as a potential threat or meal, you are at risk of being attacked. It's why part of the respect we should show wild animals involves keeping a safe distance and respecting their territory.

The simple reality is that Shroud elementals aren't, never were, and never will be human. They are nature spirits living far outside the realm of human society, and canonically don’t possess the same sentience level as any of the game’s spoken races. They're a naturally occurring species that are deified in Gridania's Nophica mythology. They're alive, but the lore and game show that they behave more like wild animals.

This is why it's kind of frustrating when fans demand humanity — and human morals — from the elementals. The same way you can't explain the human condition to a butterfly or a redwood tree, you'll also never be able to explain it to a little cluster of pure energy floating out in the woods.

Nature is beautiful. Nature is terrifying. It's the comfort of sunny day and a cool breeze. It's the destruction wrought by earthquakes and tornadoes. It's the budding life of beautiful plants and flowers. It's death in the piercing jaws of a predator, even if that prey is only a baby.

Nature is not bound by human concepts of morality or fairness. To expect it to abide by our rules is absurd, and to try and force it to is futile. And whether certain players like it or not, the elementals are irreversibly tied to that philosophy.

The Importance of Gridania's Self-Accountability

Like many others within the fandom, I find that the game's writing involving Gridania has been painfully neglected compared to the other city-states. As a black fan, it’s vexing when fictional narratives don't handle the subject of racism with proper diligence and respect. While not every Gridania-related quest is bad, there are far too many that drop the ball; all too often, these quests fail to properly denounce in-universe prejudice, often to detriment of the stories they’re trying to tell.

These problems are major motivating factors in my desire to rewrite several Gridanian questlines. I've made several posts about my ideas for a Lancer Quests rewrite in the past, and at some point, I hope to do the same for other questlines in need of reworks.

But while I'm desperate for the writing team to reevaluate Gridania's narrative, I find myself equally frustrated with the "Evil™ Elementals" crowd – mainly because I feel like they're failing to fully grasp the actual root of the problem.

The players I'm referring to are weirdly insistent on pinning all the blame on the Shroud elementals. In these fans' minds, it's these semi-sentient nature spirits who hate Duskwights, Moon Keepers, and Ala Mhigans, and they are the ones who instilled these prejudices into hateful members of Gridanian society.

Honestly, this stance has always been absurd to me, and I can barely understand how it came to exist. Especially since it’s so incompatible with the actual lore for the elementals.

I've already been pointed out that the elementals can’t perceive spoken languages, and that they “see” other life and living creatures the same way they "see" themselves — as aether.

Furthermore, it's canon fact that a Hearer's "translations" are not direct or word for word. They're readings are based completely on the Shroud elementals' aetheric waves, and this process shouldn't be mistaken for the Elementals knowing or understanding human words.

The names of different races and nationalities would mean absolutely nothing to elementals. They wouldn't perceive the pointed ears and tall stature of an Elezen, or the cat-like ears and tails on a Miqo'te. They wouldn't be able to tell the difference between Midlander and Highlander, Duskwight and Wildwood, or any other clan distinctions that in-game characters or players can.

The Shroud elementals aren't capable of telling the differences between any spoken races.

Which means that if a Hearer claims the elementals dislike a specific race or clan, that Hearer is unquestionably spouting a bold-faced fucking lie.

There was already a situation like this in the 60-70 Leatherworker quests, which several people already mentioned in the tags of my original post. After showcasing a taxidermy dhalmel to raise awareness about endangered species, the WoL, Atelloune, and Enion are confronted by Hearer Marmaduke (yes, that’s actually his name and I’m honestly still not over it).

Not long after his tangent, he orchestrates the unfair seizure of the dhalmel. But Atelloune, suspicious of his claims, had already gone to the conjuror's guild, exposing Marmaduke's claims of elemental anger as a completely fabricated event.

Some might say that this isn't relevant because Marmaduke's lie wasn't told with prejudice in mind. But in the end, his motivations really aren't the most important thing here.

He openly lied about the elementals being angry, and seemed to have full confidence that he wouldn't be called out on it. He actively took advantage of his position — and the trust Gridanian citizens place in the Hearers — to falsely claim that something was wrong and force his misguided opinions onto others. Hell, I'd even argue that his behavior qualifies as a microaggression, since Atelloune is a Duskwight Elezen who he accused of a "crime" that never even happened. Not being a full blown bigot doesn't make someone incapable of racist behavior or actions (just like in real life).

This is not an incident that should be brushed off so easily. Sure, Marmaduke might have admitted to his own wrongdoings and ignorance. But the idea that this is an isolated incident within Gridania — that it's never happened before and somehow will never happen again — just comes off as terribly unrealistic.

Gridania is a five-hundred-year-old nation. How many times in those five hundred years has prejudice warped "translations" of the elementals?

How many Duskwights, Moon Keepers, and Ala Mhigans have been accused of infractions that never even occurred?

How many Hearers have abused their positions for everything from politics to petty squabbles? And how many times has someone gotten away with telling these kinds of abhorrent lies?

These are the kinds of questions the writing needs to tackle more with Gridania. Exposing the cracks within their system — and how those cracks have caused harm to innocents — will help to trigger the development and growth the city-state still desperately needs. Throwing all the blame on the elementals will never allow Gridania's narrative to escape stagnancy. At least not in a way that will actually feel genuine or satisfying to explore.

I understand that most people aren't trying to absolve Gridania of wrongdoing. But whether they realize it or not, that’s exactly what the "Evil™ Elementals" mentality does.

To claim that the elementals "made Gridanians racist" is to disregard the deliberate and intentional actions of racist Gridanians. It minimizes their level of accountability and responsibility in fixing those problems.

A prejudiced Hearer is not a gullible victim being strung along by scheming or "evil" nature spirits: they are intentionally taking advantage of their standing in society to persecute people that they don't like. They know the elementals don't understand the concept of spoken races, ethnicities, or nationalities. They also know that most of the population can't "hear" the elementals at all: a fact that can be utilized to mischaracterize the reasons for their agitation, or even fully fabricate incidents of anger all together.

One of my favorite parts of Myths of the Realm was Halone’s personal advice to the WoL.

This statement is so appropriate for Halone, especially considering Ishgard's history. But this mentality is just as applicable to any other worshipers of the various gods.

A Hearer misrepresenting the "will of the elementals" is in the same vein as an Ishgardian priest misrepresenting the "will of the Fury". The game has so many examples of Ishgardians trying to use Halonic doctrine to not only justify their ignorance on certain subjects, but also enact unfair punishments onto others — including their own countrymen. Similar situations of false invocation have happened in Gridania, particularly when specific races and immigrants are unfairly targeted because they’ve supposedly "angered" the elementals.

This is why many fans — myself included — will make comparisons between Gridania and Ishgard. The citizens of both city-states are deeply devout to their patron goddesses. But that faith has been regularly misused and manipulated to persecute innocents and maintain unfair systems.

The Holy See's theocracy sanctioned generations of pointless bloodshed in a war they didn't want to admit they started. The Inquisitors killed countless of their own citizens based on flimsy accusations of heresy. Temple Knights have attacked and slaughtered Au Ra because they ignorantly and incorrectly assumed they were connected to and/or descended from dragons.

If Ishgard can commit to reform and reparations after a millennium of atrocities, then Gridania is just as capable of taking the same accountability. What the writing team needs to do is rethink their Gridania-centric storylines: not only do future questlines need to show more growth and change in their society, but older quests that were sloppily resolved need to be reexamined and even rewritten.

I don't agree with the claim that the writers have "written themselves into a corner" with the elementals. There's plenty lore that could be used to finally push Gridania in the right direction: they've just failed to utilize it effectively and consistently. It wouldn't be an easy task to go back and rework so much content. But in my eyes, it would be a major step forward in repairing these narrative problems.

True accountability for Gridania is taking responsibility for their own mess. No excuses. No justifications. No "the elementals made me do it". They need to establish better safeguards for their people — especially their minorities — and better checks and balances to prevent and punish blatant abuses of power.

Changing their city-state for the better will require long-term effort and commitment to reform. Not someone's WoL causing the mass extinction of a species — which would most certainly do more harm than good — and then demanding an entire nation of people bend to that WoL's will and abandon their beliefs. The former is Gridania taking actual responsibility for themselves; the latter echoes colonizer rhetoric and the racist ideologies these players claim to be criticizing.

FFXIV Fans and Constructive Criticism

To close this out, I'd like to shift focus to a fandom trend I've noticed for some time now.

Final Fantasy XIV is a major source of comfort for me. Besides just being a fun game to play, it's done wonders for my creative motivation, especially when it comes to my WoL and the fun I've had in building her lore.

However, there are also plenty of things about FFXIV that I'm critical of. There are class and job quests that fumble their stories (or at least falter at specific parts). Characters like Moenbryda and Ysayle were squandered in favor of lackluster "shock value" deaths. Certain quests in past expansions have come off as tone deaf to their subject matters, so much so that the script feels insanely out of character for everyone in the scene.

Criticism is important. It’s not pessimistic or ungrateful of the audience to engage critically with media, especially when it's media they love. My criticisms of FFXIV's writing don't diminish my love for the game. If anything, I want the writing to be reevaluated and improved, and for the writers to learn to avoid the same issues in the future.

But constructive criticism — at least to me — requires certain responsibilities. Responsibilities that not everyone keeps in mind before making sweeping judgements.

A good example is a certain "critique" I've seen repeated many times, usually during Stormblood discourse that tends to pop up from time to time. It relates to Lyse (a character who's regularly hypercriticized), and players who dislike how the writers gave her Raubahn's rightful place as leader of Ala Mhigo and the Resistance.

A rather odd complaint to have, considering it's about an imagined event.

Raubahn is Ala Mhigo's head of state, as well as head of the Resistance forces. Lyse commands only one faction of the Resistance — the faction based in Rhalgr's Reach — because that was the one under Conrad's command, and he had no authority over any other faction.

In other words, these fans dislike a "writing choice" that wasn't made to begin with, failing to realize that the actual scenario is provided both in-game and in Encyclopedia Eorzea II.

This is just one of many examples where players will mistake false presumptions for canon. Someone will criticize the game for a plot point that never happened, and suddenly other players will like, share, and comment about how they also hated that thing that never happened.

Even on my original post, there were people making various claims about the elementals. Some were 100% accurate. Others were slightly off. Others still were flat out untrue.

In this fandom — and plenty of others — fan-created concepts have a bad habit of getting mixed up with the actual facts. I don't think most players do it on purpose; they're usually just trying to share their thoughts and opinions on the game, and that's something I'll never try to discourage. But sometimes, they'll simply accept something someone else said in good faith, or rely too much on memory for parts of the game they haven't played through in a long time.

Criticizing the writing's handling of Gridania is perfectly valid, and I've done plenty of it myself. But those criticisms need to be based on the writing's actual faults and mistakes: not on misremembered plot lines and assumptions. Complaints need to be backed up by actual examples from the game and/or other canon sources, and can’t rely solely on muddled memories of a play-through that happened months or years ago.

It took me over two weeks to put all this together. I spent hours replaying relevant questlines and reading the side stories and lore books, not to mention the time it took me just to write all of it down. But I did all that because I wanted to be able to back up my claims with evidence. I didn't want to leave out important context or dialogue that I simply forgot or missed early on. If I were to forget about key events and fill in those gaps with hazy recollections, I'd not only weaken my argument’s strength, but also be guilty of blaming a writer for something I misremembered.

No one's EVER going to remember everything that happened in FFXIV; it's literally impossible for a game this large and with so many characters and stories. The Unending Journey and New Game+ are fabulous tools to make up for this, as well as the dedicated wikis and websites created by our fellow fans. But all of those go to waste if players never bother to utilize them.

I'll always support constructive criticism in this and any other fandom. But good constructive criticism isn't just making loud accusations on social media. It's taking the time to revisit the story and take notes on the things that could be done better. It's providing evidence to support your claims and prevent misinformation from being spread as truth. It's addressing biases not only in the writing room, but also those harbored by fellow fans.

Constructive criticism requires effort and diligence. A fact I feel gets lost in fandom spaces sometimes.

[sowheresmyroom]

People hating on Vassago (or at least criticizing him) because he is a shallow character and has no background. Lol. LMAO even. I'm sorry but do you expect characters to info dump their entire background the second the get on screen? That's actively worse writing. Characters can be introduced and then you can build on them later over time, like you know that's possible right? Normal even?

[ayebibs]

What would have made the Veilguard companions more compelling?

I keep racking my brain trying to determine how the marketing of this game was so focused on the companions, their rich lives outside of the narrative, and the journeys that they go on when I think that they are objectively the worst written companions to date. Not to say that their appearances aren’t well designed or that they don’t have really fun and cute moments, but they are simply less three-dimensional than previous companions. Fundamentally, my biggest grievance with the Veilguard companions is that I just don’t find any of them nuanced or interesting. They are all good people, but they are not good or believable characters that fit this plot and interact with it in meaningful ways.

I have never been one of those people that ignore canon, but I have been perseverating on the missed potential of this highly anticipated game that we’ve waited ten years for. So, I wanted to criticize some of these characters and explore some changes that might’ve made for a more compelling group of characters had they been written differently, but (hopefully) respecting the vision of who the characters are at their core because I do think that the skeleton of something great is here.

Disclaimer because this is long and critical: There are a lot of spoilers below. I haven’t read all of the Dragon Age books and I could be missing things, but I also think that the game and the characters’ journeys should speak for themselves as we go through the story. I also get that these are just my opinions, I’m a STEM girlie by trade and a creative on the side! Not everything I suggest may be great or realistic for building a plot or realistic for writing the script of a videogame. I also don’t mind conversations about these characters! I think that would be fun, I just don’t want to be shat on for being very disappointed in this game when it’s been my favorite video game series for half my life and I went in very hyped and willing to excuse a lot!

Alright, if you’re still with me, buckle up!

First, before I outline the specific changes I would make to each character, I want to address that there are just flaws with the way BioWare decided to handle companions as a whole in this game. I want to mention them now because they impact nearly every character and I don’t become repetitive:

1. Most importantly, the approval system is pointless and probably could be left out of this game for all it means to the narrative. It is nearly impossible to wrack up disapproval for the companions and you increase approval and bond by just taking companions out and completing a quest. If the companions like nearly everything that Rook does, then it means that they don’t care enough about anything to have strong rigid opinions (which is good for a well-written character). If companions don’t have an opportunity for meaningful agreements or disagreements, it means that the writing is not what people expect of a Dragon Age game based on every single installment we’ve had so far. It is one of the few things that have stayed the same in all of the past games and one of the things that I think fans are really upset about and should have been nonnegotiable.

2. All of the factions (except for maybe the Grey Wardens) really just needed to be messier and more complicated. Not all of the factions were meant to be heroic throughout the series. As others have commented, the Lords of Fortune and the Antivan Crows are the most glaring examples of this. However, I think that the Mournwatch and Veiljumpers are not exempt from this either. The factions serve as crucial parts of our companion’s backstory and by sanitizing them, we are wiping key opportunities for character development. For example, it could be way more interesting to have a character who fundamentally disagrees with their faction, but doesn’t know how to escape it. Or, what about a character who loves their faction and makes us feel conflicted about them because of their willingness to explain away the faction’s history? I could write (another) essay on this, so I’ll leave this point here.

3. We simply needed to have more conversations with all of the companions. All we have are these short, uninteresting cutscenes to learn about the companions. The player should be able to go up to the companions and ask them about the history of their faction, who they trust and care about in their faction (and why), their past, and their opinions about new information (on other companions, side quests, and plot points). None of these even need a cutscene, just voice acting. It would also help players feel more connected to the companions.

4. There needed to be more visible personal and interpersonal conflict. The companions read like coworkers to me. They mostly like each other and, even if they do have disagreements, they are never explored in the narrative. They don’t seem to have any hugely conflicting viewpoints on any topic and, even if they do, they are benign. For example, what to pack for a camping trip or not wanting to talk about a particular topic (dragons vs. spirits) can be interesting in addition to more complex banter but the banter just feels inappropriate and irrelevant for the plot of this game. Overall, the companions rarely make a fit about anything. It feels like the writers didn’t want any character to appear problematic, but they made them flat because none of them seem to have a hill to die on except that they should save the world. This might have been fine in a game series that didn’t focus so heavily on companions and the way that ethics are shaped by personal experience, but this is not that imaginary game series.

5. The companion quests should have focused more on worldbuilding and getting to know the characters. I have little to say about this other than that the quests for Harding to try out her powers, training Assan with Davrin, shopping with Lucanis, and lighting candles with Emmrich, etc. were lazy, uncreative filler. I really cannot put it any other way. They should have all had quests that better explored their faction and, by extension, them. We barely learn anything in those quests and they are time wasters. Those are the scenes that should have been converted to a codex entry, not some of the important lore drops that we currently have in the codex.

6. Rook chooses one option of a binary for every companion towards the end of their personal quests. I’m okay with some of these, I think that it made sense for Bellara and Davrin to ask Rook what to do in their personal quests because it felt more natural. A friend asking a friend for their input. On the other hand, some of these are really inconsequential, semantic, and mindset related (Neve) and others are such personal choices that it feels inappropriate for Rook to be involved (Emmrich and Lucanis). In a lot of these cases, it would have made more sense to have dialogue options sprinkled throughout the game that influenced companions to make their ultimate choices. Giving Rook so much power in these decisions makes the companions feel one-dimensional because it strips them of agency that any believable character would want. Even if they wanted Rook to make these decisions, companions should have felt more strongly towards the options and either praised or disparaged Rook for their decision.

7. Finally, I found all of the romances very lackluster. I was never someone who considered Dragon Age games glorified dating sims (I actually really don’t like that take, even if it's all jokes), but I found myself missing the depth of relationships in previous games. All the relationships felt too new and shallow. Largely, I think this is due to points 3 and 4, but also due to a lack of reactivity with your companions. For example, companions barely acknowledge you getting them a gift or flirting. This could have also been helped by a few extra cutscenes with the companions.

That mostly covers the overarching issues that apply to all characters. Some of these things might come back in my individual discussions of the characters if it is particularly bad.

If you’re still with me, here are my thoughts on each companion and/or what I think would have made them more interesting:

Bellara

I came to like Bellara much more than I anticipated from the trailers and marketing. However, she is really emblematic of how the writers didn’t want problematic characters. There is nothing in the game that would cause people to accuse her of being problematic, but despite being an elf (a historically oppressed and enslaved group), she is so quick to apologize for the actions of ancient elves who oppressed her ancestors thousands of years ago which is ridiculous and solves nothing. It also really seems like the writers wanted her flaw or quirkiness to be some kind of neurodivergence and nerdiness and that alone doesn’t make a compelling character. I actually think it would be interesting if Bellara was, if not pro-Solas, pro-hearing him out because his intentions were in the interest of the elven people even though he made some shitty decisions. I think she would want to be interested in what Solas knew about the ancient elves and what their society looked like before the Veil. I think she’d want to know as much as she could about the technology. I think it would be interesting if she guiltily admitted to wondering what the world would look like if the Veil came down. How different would it really be to what they’re already experiencing? Could they not mitigate the problems? I think this would be an excellent point of tension between Bellara and Davrin (who is Dalish but might not understand her curiosity in the face of the blight) or Harding (whose people were so impacted by Solas and Mythal’s actions… more on Harding later).

Davrin

Davrin is actually my favorite companions in this game, but I still wanted more from him. I think it would be really interesting if, when the team is gathered around after Weisshaupt that Davrin really pushed back against the idea of sorting out their personal shit before progressing. He’s a grey warden who, in his estimation, just failed his one purpose. I think that this would cause a bit of tension between him and some other characters, like maybe Taash whose concerns are more personal than anyone else's at the time. He is serious and straightforward, so I don’t think it’d be out of character and it would make their friendship and training montage more satisfying later on if they had to move on from it. I would also expand on the fact that he was disappointed to not die when he killed one of the archdemons? It was touched on so briefly and he seems to emotionally resolve it in a few dialogue lines which I think is crazy, even considering that he wants to live to save the griffons and raise Assan. A “blow up” about how the team needs to put their personal affairs aside while struggling to keep his own personal affairs together would introduce a little more depth to his plot line and expand on one of the more interesting things about him that we barely got any time with.

Harding

Harding was one of the most boring characters to me in this game because she felt so flat and there were so many ways to make her more interesting. Her character isn’t helped by the Varric twist because the narrative requires that she doesn’t grieve except for one scene despite knowing Varric for at least a decade. Personally, I think that changing her reaction if/when she finds out what Solas and Mythal did to the Titans and her people would make her more well-rounded and believable. From that point on, Harding should be anti-Solas and you should lose approval with her every time you entertain the idea of trusting him. Maybe she could even express disappointment/frustration/sadness for an Inquisitor who believes Solas can be saved or speak of them more highly if they think that he is irredeemable. Also, we should’ve spent more time with her and the dwarven people. I think Veilguard was such a rushed and half-baked attempt at wrapping up that storyline. We learned so much about the dwarves in the last two games and we get to spend so little time with them.

Taash

Interestingly, I think Taash is one of the few companions with really obvious flaws. They are childish and impatient, but they’re poorly written and their flaws are never acknowledged or treated as flaws by the narrative. In my playthrough, their relationship with Harding might have been an interesting place to explore and address that childishness. It was also a missed opportunity for them to explore Qunari and Rivaini culture. As other people have commented, the binary choice between being Rivaini or Qunari is odd in tandem with Taash’s journey of self-discovery and identity. I think that choice shouldn’t exist and should be encouraged by dialogue options peppered throughout their larger quest. We were so close to exploring the rift that can form in families between first generation children and immigrant parents (and learning more about Rivain and the Qun by extension) when there is love but a fundamental difference in culture and lived experience. Instead, I feel like the narrative never gave us a chance to really hear Shathann out before her death, but I’ll give the writers a break because I think that they were going for tragedy and unresolved conflict and I don't know if I trust them to make that a conversation that fits the world and isn't anachronistic.

Emmrich

The thing that bothered me most about the Emmrich storyline was the final choice between Emmrich becoming a lich and bringing back Manfred. This is another choice that Rook should have influenced rather than choose outright. The number of times that you asked probing questions or commented on Emmrich’s desire to become a lich through more conversations about Emmrich’s fear of death and relationship with Manfred should have determined his final decision. Personally, it felt inappropriate for Rook to make that decision directly for him, no matter how much the game tried to justify it. I would have also liked to see his fear of death impact him more throughout his quest line and the narrative. The final quests are literally a suicide mission and he should have had more dialogue regarding it.

Neve

I’m going to admit that Neve was hardened in my playthrough and I haven’t explored her character in playthroughs where you save Dock Town, so this section might not be applicable to half of you. I didn’t understand a lot of Neve’s motivation behind her actions. I didn’t understand why she felt so passionately about her city or her jobs. Her drive felt hollow to me, making her personal quests feel generic. When I got to Neve’s quest where we gathered clues near the water in Dock Town, I was excited to finally learn anything about her, but it was devoid of any meaningful backstory. I would have written the quest to better explore Neve’s past, motivations, and personal relationships. The other big thing that stands out is that Neve is a noir detective and the VA has clearly gotten direction to sound like one, but her story is so devoid of mystery, intrigue, and many of themes that would make that more than aesthetic. And, like, isn’t her whole faction about freeing slaves? Why not make her personal quest more closely tied to that?

Lucanis

Lucanis’ personal quests are so tied to the dynamics of his faction, so I think a lot could have been solved by making the Crows more morally grey. I think Teia and Viago could have stayed the same, but we should have seen more negative interactions between him and the rest of the Crows. Outside of Illario, Catarina would have been an exceptional vessel to explore the problems within the Crows and a theme like generational trauma or exploitation. The party banter between him and Davrin criticizing each other's factions could have been an excellent space to talk about the negative aspects of the Crows and how Lucanis’ feels about them, either defend some misdeeds or express how he feels conflicted about his past contracts. In my game (when you save Treviso), Spite also felt more like a mildly important accessory in Lucanis’ plot than a significant problem. Few characters had anything significant to say about Spite and he caused few problems. I actually thought Spite was fun for most of the game, but he needed to be more problematic because he gave the impression that he was included more to build an aesthetic for Lucanis than a character-defining plot point. Finally, I think Rook deciding what to do with Illario was a poor decision. I would have written this as a decision Lucanis makes on his own based on how Rook encourages him to deal with Spite through a more fleshed out character arc.

This pretty much summarizes my thoughts on all of the companions. As you can tell, I am very Normal about this game.

I wanted to like these characters so much and they have an unbelievable amount of potential. They are all so fascinating in concept and all of them are poorly executed either due to the relationship building mechanics of the game, because of the writing and dialogue, or a mixture of both. That said, there are brief moments when I like them and I get glimpses of what they could’ve been.

I just hope the characters are better explored in future games (if we get one).

[tangledbea]

Why do so many people ship minors with adults? Cassarian, Varipunzel, Eugerian! That's so messed up. Sorry for the outburst but seriously, it's gross!

You are coming to both the right person and the wrong person with this complaint. Allow me to explain:

I absolutely despise ships with one adult and one minor. It squicks me the heck out. This goes for aging the minor up, as well. There are basically no combination of canonically minor x canonically adult that I'm chill with.

That being said, people are allowed to ship whatever they want*. Just because I have no desire to engage with it doesn't mean I want to take it away from anyone else. Censorship is a slippery slope of which I have no desire to be a part. It's up to you to cultivate your own library. Don't like it? Block the person, or don't read or look at things tagged with it. That's what I do.

*Please note that it's not pedophilia, which involves actual human people in the real world. Real people engaging with major x minor ships are not inherently pedophiles. The characters might be (or they might not), but it's still fictitious, and it's important for people in the real world to be able to recognize the signs of pedophilia, and the best way to do that is through fictional writings, which explore the thoughts of both the victims and the perpetrators. It's time to learn how to engage critical thinking skills.

[deancrowleycas]

@zeeimpalaangel Yeah, he did! I don't think he has much influence on the script, but he sure has on the shots and framing, and also I'm thinking about how his Radio Company music was played at the end. He's for sure put his heart into it, and we all know how Jensen liked the ending of the show... As I said, he, of course, didn't write the script, but maybe it was both him coming to terms with Dean dying and learning to let go while at the same time criticizing the fundamental misunderstanding of the character's happy ending and network interference. That's of course speculation. We'll never know who is responsible for the finished project, after all, TV production is a motley crew. But some people involved were for sure responsible for what we got on screen, and other people were making the executive decisions about the show.

It's insane how Atomic Monsters is about parents protecting their child and refusing to let go until learning that it's for the better and most importantly that they have to respect their child's wish. And then parallel to it you have Chuck mocking Becky, refusing to let his characters be free, and being the absolute opposite of the parents who actually love their child and accept their child's agency... yeah, that's the good stuff