#relationships with characters and choices that affect the story or at least feel like they do.

[ironyscleverer]

One aspect of Stolas and Octavias relationship that I think deserves a little more attention is the fact that Stolas is traumatized as Fuck, and growing up with a traumatized parent can have a pretty profound impact on you as a kid. Even if they’re a good parent, even if they try their hardest in every way, their issues always seem to have a way of making themselves known. So even though Stolas clearly loves Via to bits, and she him, I wouldn’t be surprised if her relationship with Stolas was more complicated than what we see onscreen, even beyond the “abandoned her for some random imp” of it all.

There’s not a lot of discussion of this in canon, understandably since most of Stolas and Octavia’s immediate issues stem from the divorce, but there’s a hint of it in Loo Loo Land, when Stolas talks about how much Via used to love seeing RoboFizz:

It’s pretty clear in this scene (at least to me) that Stolas is projecting his own love of clowns onto Via, who was in fact terrified by RoboFizz as a child. He goes so far as to misinterpret her tears as “tears of joy.”

That’s a pretty weird detail, and doesn’t really have anything to do with the Divorce, so there’s any number of ways to interpret it. At first, given Stolas’s character in season 1, it comes across as self-absorbed, but looking back, i could see how that self-absorption might be Stolas’s response to always ignoring his own needs and wants for the sake of others. Think about it—Stolas spent 17+ years believing he couldn’t make choices about his own life, and constantly sacrificing his freedom and well-being for others (his father, his wife, his daughter). He spent well over a decade being abused in order to give his daughter a normal, happy childhood. If he’s convinced himself his desires don’t matter, one way around that is to do things because “Octavia likes them.” So if he convinced himself Octavia liked clowns,,, you get the idea.

So anyway, in Sinsmas this side of Octavia’s childhood isn’t really the main issue, but I like to think she is starting to realize not only how weird and sad her dad always was, and how much that may have affected her upbringing. We see a tiny hint of this when she confronts Stolas about his pills:

Of course, Octavia doesn’t know the full story, but she knows enough to be upset. She knows that Stolas was unhappy enough to need the pills, and he stayed in that environment for her. Thats a lot to process at 17. It’s not a nice feeling to realize your childhood was an extension of your parent’s trauma. It’s also not fun to realize your parent chose to harm themself for you, even if they did it to protect you. It makes you feel used, like you’ve been made into an accessory to hurting someone you love. In my mind, Octavia is processing all of this, AND that her dad ran off with a random man.

All this is to say, by my wildly non-canonical interpretation, I really feel for both Stolas and Octavia in this situation. For Stolas, making his own choices and following his instincts for once was important for him to do. For Octavia, it’s reasonable for her to feel upset at her dad, perhaps for more reasons than she realizes. She’s looking back on her relationship with Stolas, and how he raised her, and reevaluating everything. Their relationship is changing, and I hope we get to see a bit of that reflected in season 3.

[wardensantoineandevka]

I will say, at the end of the day, I am very fond of Illario Dellamorte, despite it all. Yes, he managed to make every single POSSIBLE bad decision one can make, then figured out how to make a few more that nobody else would've thought possible. Yes, he was increasingly sloppy and incredibly stupid about it all. Yes, a lot of his frustration and rage is incredibly misdirected. Yes, I said before the game came out that I support him having a villain era, and I still do because it's fun and I love mess and drama—as much as he stresses me out and makes me want to strangle him because Jesus Fucking Christ.

Still, I think I like the idea of forgiving him. For me, there's something interesting in how he doesn't kill Caterina, in how he didn't ask for what happened to Lucanis and seems genuinely angry—wrong as he is to direct it at Lucanis—that the control that Lucanis so highly prized was taken from him rather than dying at his best, in how he can engineer Lucanis's death but experience a grief that still feels harrowingly genuine at the wake, in how he clearly is grasping at any possible advantage and is carelessly choosing his allies not because he believes in their goals or ideals but because he's desperately power-hungry and ambitious and no more. In how, if he is forgiven, Lucanis is impressed he almost got away with it, in how Illario goes to help the Crows in Minrathous in that last gambit.

He's a mess, and he's selfish and ambitious and vicious and contradictory. But, I have a soft spot for characters like him and relationships like his and Lucanis's, y'know? Forgiving him and forcing him to work out his life after he's burned nearly every bridge he has is just really interesting to me, especially given how Lucanis is still full of hope and affection for him alongside the hurt. How do you rebuild after all that, you don't even have the devil-may-care breezy mask anymore because everyone knows better now. Figure out where he fits now in his cousin's life, because I do think—at the end of the day—the affection and relief is still there from both sides, under it all. Deeply buried possibly, for Illario, but there.

I think there's enough pieces here to suggest that he and Lucanis have a chance to actually figure it out, and to suggest that Illario might actually get his shit together and be willing to given opportunity, time, and patience. It's also a messy choice (and a huge risk), but I do personally like the idea of forgiving him. I like the messy, insane, dramatic narrative of it. He has potential, as Lucanis himself notes. I would love to see if he can rise to it, now that he's gotten all of this out of his system.

Or, at least forgive him because there's something funny about that and I want to see what else he does if given the chance. It'll probably also be a mess, but I'd love to see what messes he gets up to when he's not plotting against the person closest to him in the world. It'll be fun! But, sincerely, I do think he can get his shit together, and I hope and believe he wants to. It's the more interesting and fun story to me, for both him and Lucanis, personally speaking.

[felassan]

From Game Informer:

Solas plays an important role in the game as a central figure and significant character, but the game is not about Solas, hence the title change

Rather than focusing on a specific individual, the focus and centerpiece of the game is Rook's team, stopping the end of the world with this group of specialists

"I think you could argue [these companions] are the best the franchise has ever seen". We will have the opportunity to interact with them in a way that both shapes their story and also influences the main story, including having the opportunity to impact their fate

"Arguably, this game has kind of, in a way, been called Dreadwolf to some degree since its earlier days"

Excerpt:

"When I ask about Solas' role in the story after I learn his namesake is no longer in the game title, Darrah says Veilguard is still taking the Elven God's narrative in a good direction. He adds, "It allows us to, hopefully, give a good conclusion to all the varied attitudes toward Solas that are going to be coming from people who love Solas, who agree with Solas, who hate Solas, people who want to kick Solas off of a building – I think that we give you the opportunity to bring that to a close, but then tell a greater story about The Veilguard and about the world as a whole." Talking to Epler, I learn more about how Solas isn't exactly the big bad I expected before seeing the opening hours of Veilguard. There's a lot more nuance to everyone's favorite bald elf.  "The most interesting villains to myself, and honestly most people, are not just straight up, 'I want to end the world.' To them, they are the heroes of the story, and Solas is no exception," Epler tells me. "Solas always feels that he is a tragic hero but a hero nonetheless, so he's coming into this believing firmly that what he did, that which you stopped him from doing, was the right thing – that you made a mistake. But now he's trapped and can't reach out and actively affect [Thedas], so he needs to work with you. "That allows us to provide a lot of nuance to that relationship," Epler says."

Solas is literally trapped in the Fade after the game's prologue. Rook and co stop his attempt to destroy the Veil. Rook passes out and wakes up in a dream-like landscape to Solas' voice. He explains that he was trying to move Elgar'nan and Ghilan'nain to a new prison because the old one wasn't containing them properly anymore. The two blighted gods are now free and roaming Thedas. Rook has to stop them, but it seems that they will have to work with Solas ("or at least listen to his guidance and advice") to do so

Excerpt:

""So one of the principles we took to when we were building the story of The Veilguard early on was we wanted the beginning of the game to feel like the final chapter of an earlier story and you're coming in right at the end, you're coming in as if you've been chasing Solas – the [Solas at the end of Dragon Age: Inquisition's Trespasser DLC] who said he was going to end the world and tear down the Veil," Epler adds.  Epler says players will see early on (and as the narrative develops across Veilguard) that Solas sees much of himself in you, the player-controlled Rook, especially "the parts that maybe he doesn't like to face." As a result, there's an interesting push and pull between Solas and Rook. He says players can define the relationship between these two characters with their choices in dialogue.  "You can continue to be suspicious and hostile towards him, or you can start to see him and find that common ground, that connection between the two of you, and really develop a different relationship over the course of the story," Epler says."

[source]

[notebooks-and-laptops]

We all know that the real reason you hate Veilguard is that non-white people have agency and power in the story, unlike your precious BG3 fetishizing racism. Imagine you giving a shit about the fact that Karlach's story is incomplete because Sven Vincke believes that oppressed minorities deserve racist abuse.

Okay so obviously this ask wasn't sent in good faith (and bizzare considering Karlach, Lae'zel and Wyll are my favs in Bg3 and I've been outspoken about disappointment in their treatment by Larian compared to Astarion but I digress). But it has prompted an interesting thought because....

What agency do characters (any, but especially our non-white as anon has pointed out) have in Veilguard? I think of any RPG (maybe even any videogame?) the Veilguard companions have the LEAST agency I've seen.

All RPGs involve an element of helping to decide your companions fate; will Merrill smash the mirror or keep it? Will Isabela come back? Will Alistair become a warden, a king or a drunk? Will Leliana let ruthlessness or compassion rule her? And how you play does effect this; often there are important choices at certain moments.

I think these decisions in general work better when they're slowly built up over a number of choices (e.g. Leliana in DAI, who will be divine) or come from approval/disproval (Merrill smashing the mirror if she feels she has nobody on side vs. keeping it if she feels she has you at her back). This is because in these situations the characters are not just asking what to do to the player they are influenced by numerous situations and circumstances and that effects the decisions they make.

But veilguard...well. the approval system doesn't exist. None of the companions can hate or dislike Rook, they can only like you to various degrees of intensity. So that doesn't effect anything. They have no agency over their relationships and whether or not they like someone. And there is a total of one choice which I would say truly affects the game long term (maybe you can argue two if you say a meaningful decision with long reaching consequences can happen an hour before the game ends) and even making that choice won't really sour Lucanis or Neve against you fully.

I've mentioned a few times that veilguard companions have no line in the sand; they're very maluable to just...whatever Rook tells them. None of them have strong opinions about magic, religion, race, culture, society. Is that agency? Is it agency to water down a character so they have no stance on anything? Can a companion HAVE agency if they don't have any real negative opinions ever? If they never truly get to be influenced by the world to make decisions for themselves?

Each companion has a choice of two endings and Rook makes them for the companion in question. DA has done this kind of decision before (Bull comes to mind) but they've never followed such a formulaic system in which everyone looks to Rook at one moment and decides the fate of their lives (and in Bellaras case their people) from one decision the player makes. The companions don't push back against Rook for making a choice they dislike or regret letting Rook make for them. When you chose to kill Avelines husband for her she is pissy at you YEARS later for making that decision for her in the moment. In veilgurd there is just. Nothing. They lack any real agency in the narrative at all that can last beyond the scene they're in.

This I think is particularly aggregious with Bellara and Taash; Bellaras agency in the narrative is completely bulldozed by the fact that Rook is allowed to decide whether or not she keeps the archive spirit; something with deep significance to the Dalish/her culture. There's an excellent post about how this is akin to book burning even if DA didn't mean for it to be. You can just tell her to get rid of it and she does! No regrets! Because her culture is never truly at the forefront of her storyline it's viewed as something tangential to who she is; something she can easily discard if you tell her to. Is that agency? She doesn't get mad at you for any particular decision, is that agency?

And then Taash...God Taash deserved so much better. They're living a story about lack of binaries and yet every single choice is about forcing them in one. Taash says they're happy being multicultural at the beginning of the story and you slowly but surely strip that from them and you're FORCED to do so. Is that agency for them? Is that what you think giving characters agency Is? Is that not one of the more racist/insensitive options Bioware has EVER placed before a player.

Davrin spends the narrative learning there is more to him than having to die at the end of a hard fight; he becomes a father, and allows his love of Assan to guide him in the sense that Assan acts as a mirror; just as the griffins can be reframed as protectors of Arlathan rather than just wardens doomed to die so can Davrin...but then they decided that Davrin should be up as the choice of who dies and not only that but they made that decision because they thought players would find it hard to chose between ASSAN and Harding not Davrin and Harding. Which. Is gross. I do think Davrins storyline is handled the best out of everyone which is why he's my favourite, but the ending just adds a bad taste to my mouth.

Neve, Dorian, Mae and the Black Divine are happy to leave their countries future political situation to a complete outsider no questions or disagreements mentioned. Is that uhhh. Is that agency?

Even Solas is stripped of any agency in this narrative; Mythal made him do it! If she says he can stop he will! What? Where did THAT come from? How uninteresting does that make Solas?

As for if the Veilguard companions have power or are in positions of power....I guess? Maybe? Neve can be the leader of a smuggler gang (don't think too hard about what they might smuggle in the slave capital of the world) which is a position of power. Or an...inspiration? Which gives her very little concrete steps towards actually helping docktown. Lucanis can lead the crows I guess? That's powerful...altho he doesn't seem to want the position or be able to refuse it or even complain about it. We have no idea or clue what happens to Harding, Davrin, Taash after the game but hey maybe that's because they could all be dead.

The characters ARE powerful ill give you that. We have some immensely powerful mages in our party and I LOVE every scene where Neve throws up a sheild or places herself as a shield to protect her friends. I wish we'd got to see more of Bellaras science and tinkering smarts but what we get is GREAT. But having a powerful character isn't the same as a character having agency in their story or being able to effect meaningful change.

So yeah. I mean. Obviously bad faith anon straw manning me because I dared to have an opinion about a game they happen to like (and liking the game is fine! I like parts of the game! I think the characters deserved better but hey ho). But I think it's interesting to think about agency and power in this narrative because....I don't think anyone actually gets much of it. Certainly not in comparison to previous DA characters like Blackwall, Leliana, Viv, Zevran, Fenris, Anders, Merrill, Isabela etc.

[ri-writes-if]

Chapter 2 is released

LINK

It's here! Around 60K for the whole update, with an average of ~12K words for one playthrough.

I recommend replaying from the start because I edited a couple of variables in the first chapter and something could break if you use a save.

In this chapter

You call tell (or not) the demon of your choice about your curious vision from the first chapter.

Learn what the characters do for fun and have a small discussion about it.

Find new useful information about making most of your abilities and start training with some side help.

Visit the Abyss! Such a great experience.

First romantic choice. It's a light one, but it's a start 💛

Get princess carried if you want.

This chapter introduces the first “pushing away” choices. They will be counted and will affect how the characters react to some things you do or will add some flavor text now and then. These choices won’t lock you from the friendly/romantic routes. However, they do have some other side effects… At least in this chapter.

Small changes

Added ages to the characters’ profiles, including the MC.

Added the option to customize the characters’ gender.

Balanced the characters’ gender in the “both genders” option.

Updated the Codex with a bit more lore information.

I hope you enjoy this update! If you do, I would love to hear your thoughts on it 💛

A bit of commentary on the "pushing away" choices and next plans under the line.

For the “pushing away” choice in this particular chapter, you will have a choice to apologize or change your mind about it in the next couple of chapters (tentatively) and speak about it with the affected character. I’m still on the fence whether it’ll decrease the overall “pushing” counter or not; I’ll probably decide that when I write these scenes.

This is an experimental feature (that I could delete or change at some point), but I hope I make it work in the story because I think it's a nice idea that negative choices won’t just decrease “relationship points” but also will be remembered by the characters and affect how they view some things you do or say or how they act around you the more you push them away. Especially if you want to smooch them at some point when you were cold to them just recently or for a while, lol.

It’s not perfect, but I’m satisfied with the chapter for now. It feels like I’ve been working on it a bit too long, and after rereading 10+ times to edit it, I’ve grown blind to weak places in it (and also kind of tired of it). I need to let it rest for a bit before returning to hone it, but I’ll probably do it only in the future when I have more chapters written or even after I finish the story since I want to keep moving forward and not stall in one place.

I'll continue planning details for the next chapter and then start drafting it. I've already thought of interesting things to include that could be very fun to write (and to read, hopefully, considering the main topic for the chapter is full of potential 🤭). I'm very excited to work on it, especially since I'm almost done with building the foundations in the story and soon will be able to get to the juicy parts of the plot. And there are also personal side stories of the cast, which will be starting in the next ~two chapters. Can’t wait to get to those too.

[2004hitalbumsevenswans]

I really enjoyed Batman: Caped Crusader. I was worried (like everyone else) that Bruce Timm would push his Bruce/Barbara obsession, but they barely interact when Bruce is out of costume, and he’s all business as Batman. Barbara is (presumably) about the same age as Bruce in this adaptation, she’s a young public defender, who still lives at home with her dad. Commissioner Gordon is mentioned to have 30 years on the Gotham police force at one point. And the series is loosely based on Batman: Year One by Frank Miller, and has Matt Reeves as a producer. It’s definitely an interpretation of the early years of Batman.

The setting is vaguely and aesthetically set in the 1940s, mirroring the original Batman and riffing on DC comic stories and character interpretations from that time. Clayface’s story and appearance is based on the original interpretation of the character, which I really enjoyed - especially as someone’s who’s read the first couple years of the original Detective Comics/Batman stories. (There’s also a lot of great references to the Adam West show, and a couple of its themes are reimagined for this more noir story.)

I could see the series setting up something between Bruce and Barbara potentially, but their interactions are really blink-and-you’ll-miss-it. There’s a moment where Bruce’s is climbing back onto the Iceberg Lounge yacht and he uses a pick up line on her, which she scoffs at, then he proceeds to use the line on two other young women. There’s another moment that you could say is pre-flirting, or is at least setting up a foundation to further a relationship between the two. Where Barbara makes a comment about Batman letting himself into her office unannounced whenever he feels like it, and she tells him she needs a way to contact him, and he gives her the Batphone number. At this point I think you could make more of an argument for a Harleen/Barbara pairing than her and Bruce.

I think the characters would both individually need a lot more development to be in a romantic relationship. I’ll say this even though I know it will be an unpopular opinion: in this interpretation I wouldn’t mind putting Bruce and Barbara together. I know that’s practically sacrilege coming from someone who’s favourite character is Oracle but hear me out.

My main issues with Bruce and Barbara together (especially when it comes to Timm’s work) is the age difference. It’s often debated but Barbara in most iterations (including current comic canon) is around the same age as Dick, usually a couple of years older, 2-3 at most. Bruce is depicted as having at least 15 years on her, if not more. And most stories that have Bruce and Barbara together also fixate on her being batgirl. Then there’s the tendency to make a Nightwing-Batgirl-Batman love triangle which I don’t want to get into but I hate completely.

None of that is happening here. Barbara has her own storylines that are just as prominent as Bruce and Harvey’s. She’s an adult with agency and flaws and is just as fleshed out as any of the other characters are. I wouldn’t be surprised if the show takes a season or two to develop a romantic relationship between the two of them. Bruce is completely focused on being Batman and sees Bruce Wayne as a persona. He’s callous with peoples feelings (Harvey, notably) and is shown to struggle with smaller acts of empathy, opening himself up to people, and honestly, social skills. The last of which doesnt doesn’t affect him too negatively because he’s a rich and well known man in Gotham.

Compared to the Bruce Wayne of BTAS it was a smart choice to show a Bruce/Batman who struggles with people and emotions. It reminded me a lot of Reeves’ the Batman. In wider Batman media you usually see two types of depictions: a compassionate Batman (which is where I would place BTAS) or a more emotionless, be-stoic-and-punch-the-bad-guys-and-look-badass version that is usually just a male power fantasy.

This version of Batman sets up the foundation for a storyline that is relatively unexplored, and I’m sure they’re going to explore it more in the next season (which has already been greenlit).

I was surprised at the lack of adult themes in the show, it was marketed for an adult audience but could easily fit into a PG13 rating, but that was probably on purpose. I was impressed they managed to have so many strong, fleshed out storylines in only 10, 30 minute episodes. But I wouldn’t expect anything less of Bruce Timm, or some of the other names I recognized attached to the project in various ways (Greg Rucka, JJ Abrams, Matt Reeves, and Ed Brubaker).

While there are a lot of critiques of Timm I agree with, I generally enjoy his work and the care he puts into it. I love Greg Rucka and was really excited to see that he wrote the episode that was more Renee Montoya centric. And while I have my issues with Ed Brubaker, I do enjoy his work.

While the series is visually and technologically based around the 1940s, the politics are more modern. Harleen asks Renee out on a date and she talks about it with Barbara openly. I saw one review call the show “race blind” which I would not agree with. Most of the racism is implied through euphemism (the scene with Lucius Fox and Gentleman ghost), but it’s still felt as a point of friction for multiple characters, it affects how they interact with the world around them. There’s also a line spoken by either detective Flass or Bullock that implies no one in the GCPD wants to follow Renee because she’s gay. It’s cut off before the last word, but again, the meaning is implied.

An issue I always had with the Timmverse is its depictions of female characters. They always feel less real than their male counterparts, less important and less visually stylized. All the important (read: desirable) women have the same body shape. They’re thin and extremely, unnaturally curvy. I’m aware that these characters are supposed to evoke that 50s comic pinup imagery but I always thought it was a bit much. Male characters - even before the animation downgrade in BTAS season 4 - were always way more unique from each other than the female characters. That wasn’t something I felt with Caped Crusader. The three most prominent female characters (Barbara, Renee and Harleen) were all different from each other, with different heights, body shapes, hair and clothing styles. They also all had 3 distinct personalities that were built up through the series. I would argue that the show was as much about the “supporting cast” (characters like Harvey, Commissioner Gordon, Renee and Barbara) as it was about Batman.

Overall I was really impressed by the show. I was disappointed with how short it was. I hope that Renee’s personal life gets a focus with the next season, and I hope they bring back Greg Rucka to write it. I love how he wrote her in Gotham Central. I was a little annoyed that they introduced the Joker at the end of the series (as a peak into the next season). I think he’s too over saturated as a character, and sometimes his introduction into a Batman story takes over everything else, and he’s depicted as Batman’s Moriarty. I do have hope that this won’t happen in Caped Crusader, because it seems that villains will be reoccurring, but there’ll be a large cast, just like in BTAS. That aspect did remind me of the way characters were introduced in those early Batman comics, it really has the same vibe. I also really really do not want Harley to be involved with the Joker in any way. Please keep her as a separate character, this new interpretation of her is great as is, he doesn’t need to be involved.

I would also be interested to see if the show develops Barbara’s character into Oracle. I could see that happening with the introduction of the Joker at the end of season one. Maybe they’re going to rework the Killing Joke? I couldn’t see them having her as batgirl, but I would be interested to see how they worked Oracle into a world with 1940s technology. I’m thinking back to her as Oracle in the Doom that Came to Gotham, and how clever that was. I’m sure they could do something just as interesting with her here. Something more supernatural feels like a long shot, because Timm usually sticks to the more “realistic”, street-level versions of Batman, but they did introduce Gentleman Ghost. So it’s a possibility.

One thing I did think could have been better was some of the voice work. Not the voice acting itself, but the design. It felt too polished alongside the score and the animation. I wish the voice acting had been more atmospheric, had more depth. It felt too clean. Hamish Linklater was great as Bruce/Batman. Following Kevin Conroy is no small feat, and Linklater’s performance felt reminiscent of Conroy without sounding like an impression. It was quiet and unassuming, yet strong.

I’m not usually someone who watches things more than once, but I’m definitely going to be rewatching Caped Crusader soon.

[the-last-thread-of-my-sanity]

I’ve been thinking lately about how much the ‘curse of Ymir’ really does affect the psyche of each of the nine shifters and how it impacts the ending of the story.

Up until the end of Season 3/Chapter 87-88, the reader and the viewer have no idea that the shifters have a limited amount of time to live. They seem to possess this god-like power and they can rejuvenate and survive almost any injury. They seem unstoppable.

This is what motivates Erwin to create a plan to take one of the nine shifter powers with the serum- having another Titan in your arsenal would make a difference in winning the war.

But what the Paradisians don’t know is how holding the power of the Nine just perpetuates a cycle of violence and cruelty. It’s a curse as much as it is a power. No matter how brilliant or grand your scope is for what you can do with this near limitless power, you have to contend with the fact that you will only have thirteen years to do it.

This revelation to me is the what colors the entire last arc of the story leading into and after the time skip.

For Zeke, it amps up the level of desperation he has for accomplishing the euthanization plan- relying on Eren was still a variable that was largely unpredictable, and he trusted him more than he probably would have if he weren’t running out of time.

Going back further in the story, it retroactively explains why Ymir (of the cadet corps) would go back with Reiner and Bertholdt at all- a seemingly nonsensical choice when it seems she has something to live for in her relationship with Krista/Historia. But Ymir knows she has little time left. She has no future. So she chooses to surrender.

For Annie, it shows her desperation to get back to her father, a man who showed her very little affection, and yet if she could just make it back maybe she could live at least a year or two with him and make at least one happy memory with the man who raised her to kill.

Armin, I honestly feel the most for, because what he and everyone else thought of as his salvation, was actually just saddling him with a curse. And heaps of responsibility to try and be grateful for it. He went from a character with a singular and wholesome conviction, to someone wracked with guilt and forced to solve the world’s problems with limited time and resources.

In Reiner’s case, I actually think the fact that he knows he is going to die is the only thing actually keeping him alive in the tail end of the story. He wants so badly to face retribution for his deeds, and he can only find the strength to keep towing the line because he knows his violent demise is guaranteed.

Characters like Pieck and Bertholdt seem to accept their lot in life- but deal with this internally and develop their own sense of morals despite it- albeit in different ways and in Pieck’s case with a shade of pessimism. Falco and Marcel stand out as a characters who see the farce for what it is- but still want to subject themselves to it in order to prevent someone they love from suffering through it in their place.

Eren, though, it’s easy to see how discovering he has already lived more of his life in powerless ignorance than what he has left is what ultimately causes the collapse in his character. Combine that with the way that he sees ‘future memories’ and doesn’t see any future beyond his own, and suddenly you have a naturally impulsive and violent person living in the most fatalistic reality ever. It makes perfect sense that his fall from grace is near immediate and precipitous.

What difference does all that power make if all it means is that you become a tool for destruction with no future? That you will be forced to curse someone else so that this cruel power will continue to exist? That is the true legacy of Ymir and the Eldian Empire- you can have near limitless power, but you will never have true control over your own life.

And it makes for such interesting discussions and questions about power and mortality and agency- and all the seemingly ‘correct’ and ‘incorrect’ ways to respond to their dilemma.

Anyway, it is always ‘thinking about the moral quandary of the titan shifters’ hours around here…

[getvalentined]

I've talked about the Nibelheim Doom Triangle many times, but I'm not sure I've ever actually put into words why I believe Lucrecia made the choice she did, at least not in a public forum. Given that Vincent has reentered the public consciousness with Rebirth, it's probably a good time.

We are not going to subscribe to the statement in the Ultimania that Lucrecia married Hojo out of pity because nobody in the company respected his work the same way nobody respected her thesis, because that's not only entirely out of character, but goes directly against what actually happened. Hojo was the lead assistant on Project S, like Gillian was on Project G; Gast selected him, his ideas, his theories, as being the best option after Project G failed. No one else was given this opportunity. After Sephiroth was born, Hojo was then moved (with Lucrecia and Hollander, but not Gillian, who had left the company) to work on Project 0—Shinra's single most important attempt at forcing humanity to progress as a species. Hojo was respected, and Lucrecia may be callow but she's never been the kind of woman who would marry someone out of pity. With that out of the way, we can get into my take on her decision.

I want to be explicitly clear: I don't believe it has anything to do with how attractive Vincent is versus Hojo, and I don't believe that it should. Asserting that Vincent's level of attractiveness should have been the key deciding factor in Lucrecia's decision does a disservice to her depth of character. Period. That isn't even addressing the fact that we're comparing a man who is eternally twenty-seven years old and was in peak physical condition at the time of his death to a man who is in his early sixties and has clearly not taken particularly good care of himself. We've never actually seen what Hojo looked like when he was young, since SE only ever uses one model for him in all modern iterations, so this is a moot point.

That said, Vincent's appearance was a mitigating factor in Lucrecia's decision—and it worked in Hojo's favor, not Vincent's.

We're almost twenty years out since the release of Dirge of Cerberus, so I feel like I can confidently state that Lucrecia was almost certainly in love with Grimoire Valentine. (This is proven in official meta, wherein Lucrecia's feelings for Grimoire are described using the same terminology as Vincent's feelings for Lucrecia.) It was unspoken, unrequited, and doomed from the start, but the affection she had for that man was every bit as intense as the affection Vincent had for her—in fact, on the official relationship chart, Lucrecia's feelings for Grimoire are described using the same word as Vincent's feelings for Lucrecia. This is a repeating pattern, and that's part of the tragedy. Lucrecia adored Grimoire for his intellect, his drive, his passion; Vincent adored Lucrecia for the same reasons. Vincent refers to her as "the beautiful Lucrecia," yes, but he also describes her as the woman he respected most.

Knowing that Lucrecia loved Grimoire makes sense of how she was so torn between Vincent and Hojo.

Vincent looked like his father, he had his eyes, his nose, his brow. He probably had a fair number of his mannerisms, body language inherited and learned via his upbringing. They probably spoke almost the same way, their voices were similar, they had the same stories and the same sense of humor and the same idiosyncracies. But Vincent wasn't his father—he wasn't even a scientist, he didn't have that academic drive that drew Lucrecia to Grimoire in the first place. He was younger than Lucrecia by a few months, he couldn't be her guide or her teacher, and while he'd been assigned to be her protector, it wasn't the same. It could never be the same.

Hojo, meanwhile, looked nothing like Grimoire. His dark eyes and wide mouth and narrow shoulders were nothing like the man Lucrecia loved and lost through her own mistakes. But his drive, his passion, his determination—my god, it was just like him. Hojo's single-minded certainty, his confidence in his own comprehension, his intellectual unquenchable thirst to understand those things beyond his reach, it was all the same. His body language was different, his speech patterns were different, his research itself was different—but not, it turns out, too different, as Grimoire is indicated to be the first Shinra scientist to propose using foreign material on a child in utero in an attempt to produce something in-between man and god that could be communicated with on a human level. This theory, found amongst Grimoire's body of research after his death, may have actually inspired the direction of the Jenova Project (after working on adults in the Howling Fang failed to produce a functional result), and is directly responsible for the creation of Nero.

Vincent would never do that. Grimoire wrote it down, so we can assume that he would have, if he'd had the chance. Hojo did.

Lucrecia may have seen Grimoire in Vincent with her eyes, but she saw him in Hojo with her mind, and that's the part of him that she loved. That's the kind of man that she loved. That's the part of Hojo that she loved.

Before long, I can't imagine she was seeing him as an echo of Grimoire. Hojo was so different, but he was exactly what she wanted, exactly the kind of man—she thought—with whom she could spend the rest of her life. Working side by side as equals, two scientific minds ready to change the world together in ways that they never could alone.

Vincent, though? Vincent looks so much like his father, Lucrecia never stopped seeing his ghost. Every time she looked Vincent in the eye, she saw his father. Every time he spoke, every time he moved, every time he laughed or grimaced or sighed, she saw his father. Even at the very end, when she believed she'd failed to save him and left him in that tank for Hojo to find, she didn't see Vincent, she didn't see Chaos. She saw Grimoire.

"Did you know your eyes are just like your father's?"

Lucrecia chose Hojo because she had so much love left in her, and the echoes of Grimoire she saw physically in Vincent weren't enough for that love to find a home in him.

Lucrecia chose Hojo because he was alive, and she was tired of loving a ghost.

[white-wolf-buckaroo]

In his own twisted way: Prologue

So here it is! First part of my new daughter of Ares fic! I hope you love it as much as I do <3

Word count: 2100 ish words

Warnings: mention of character death

Fic masterlist here!

Ares hated children.

He hated their whining, their crying, their clinging. He didn’t care for the drawings they did, or their “cuteness” or their wonder for everything new around them, and he hated when they cried like babies because of a scrape on their knee, or when they had nightmares and wanted to be held.

He didn’t like them, not even his own.

He hated how they reminded him of his own weaknesses. He hated how they made him feel something other than anger, something he couldn't name.

But he couldn't hate her.

Not entirely. Not when she looked at him with those big eyes, so much like her mother's, and a grin every time she saw him at her doorstep. Not when she smiled at him with that gap-toothed grin, so innocent and trusting, a polar opposite as to how everyone else looked at him. Not when she held his hand with her tiny fingers, so warm and soft, completely trusting him to lead the way.

She was his youngest daughter. Her name was Emily, and just as his other children, he hoped she would grow up to be a troublemaker, a rebel, and a fighter. Someone like him. He had hoped she would make him proud, or, maybe more fitting for him, at least amused. Useful for his battles.

And at barely six years old, she was a true daughter of Ares: she loved adventures, exploring the wild, she didn’t mind getting messy or dirty, and she stood up to whoever opposed to her. However, she was also gentle, kind, curious. She loved nature, and stories, and the stars, and learning. Her little soul was still pure… something Ares bewondered, even if he wouldn’t admit it to himself.

But she was a mistake. A mistake he had made with a mortal woman, which he had tried to ignore, and he almost succeeded at it; he had visited her very few times, enough for her to know who he was, but not sufficient for him to get attached.

Until the day he found out she was dead.

Her mother, not the girl. The woman he had once loved… or, more like, had had a relationship with, was dead. The woman who had birthed and raised their daughter alone, without his help, without his care. She was now gone, leaving their daughter orphaned, alone, and unprotected.

Ares had been fond of her. He hadn’t loved her, no, not really, or at least, not in the romantical way. She had been someone he shared interests with, with whom he formed a connection with, and as a result of that, came Emily. As an immortal being, he was more than accustomed to death (it kind of came in the job description for being the god of war), and especially the death of mortals; their lives were brief, like the blink of an eye, and it rarely affected him anymore, if ever.

But Emily was alone now, without any family left, and even if he was the god of war, and all the brutality and horrors that came with it, he wasn’t exempt of having feelings (on the contrary of what he said about himself). They were the reasons why he found new lovers from time to time, and had children with them every once in a while.

Even the god of war longs for some sort of connection and human emotion.

So he had no choice. He couldn’t have Emily live with him, for obvious reasons, and he also didn’t want that. No, he’d take her to the only place where she would be safe from the monsters that would end up eventually finding her: camp Half-Blood. The camp for demigods, where his other children were. The children he hated, and who hated him back.

He was sure Emily would end up hating him as well. They all did… it was only a matter of time.

So there he was, driving a car towards Long Island, with little Emily sleeping in the backseat, her head leaning against her teddy bear, breaths even and rhythmic. He tried to not pay attention to her wet cheeks, still glistening with tears shed for her mother, or how she had raised her arms up at him upon seeing him when he picked her up, wanting to be comforted by her father; Ares tried to not think about how much she trusted him, with his rough exterior, and without really knowing him, and most importantly, he tried to not think much about how moved it made him feel.

The car stopped in the middle of the road, not too far away from the entrance to camp, hidden in the heart of the forest. Ares reluctantly turned off the engine, and silence followed, only broken by Emily’s breathing, and the faint sound of morning rain falling on the roof of the car.

Ares took a deep breath, pushing back the conflicting emotions that surged within him.

He didn’t know why he was feeling like this. It made him extremely uncomfortable in his own skin, and that was something he didn’t experience often. Perhaps Aphrodite had played some trick on him… making him actually feel something at the prospect of leaving his young daughter all alone at camp half-blood. Something like… dread, and pain, and not the one he was used to. This was pain that came from other feelings he had, that usually blossomed in his chest the few times he visited Emily, or when he looked at her from the rearview inside that car, watching her sleep soundly.

But he didn’t know how to do it. He didn’t know how to be a father, he’d never really had good role models to learn from. He didn’t know how to comfort children, talk to them… or hell, love them. And he didn’t want to even try to… because that wasn’t like him. He hated children. Why even care about his own? He was an Olympian, and Olympians didn’t do that.

When the rain stopped, Ares stepped out of the car, and went to the backseat; Emily only stirred in her sleep when he fumbled with the seatbelt, the unfamiliar task more challenging than he’d like to admit, and she kept on sleeping when he took her into his arms out of the car.

She had with her only her teddy and a small backpack filled with her essentials; Ares hadn’t grabbed more of her stuff when retrieving her.

On top of the hill, where the whole expanse of Camp Half-Blood could be seen for those who had divine heritage, Ares stood, listening: it was very early in the morning, the sun hadn’t risen yet, and the few people at camp were still sleeping; in a few weeks, most of the cabins would be full of demigod children, running around, training, and relishing in the beginning of summer. Emily would have settled until then, and she’d be ready to begin her training alongside her half-siblings to become a warrior, just as every Ares kid did.

His daughter woke up before sunrise, while he was still standing at the same spot. She mumbled something, her little eyes fluttering open, cheeks warm against the skin of his neck. She clutched her bear tighter, tired.

“Daddy?”

Ares hummed, not used to a small child talking to him in such tender voice. Like everything involving Emily, it made him feel that unfamiliar warmth he was uncomfortable with… but that he longed for when he didn’t have it, missing it.

Emily raised her head, slowly starting to look around, and at Camp Half-Blood. Her new home.

“This is where you’ll be staying from now on” he said, watching her. Her little eyebrows frowned, and then she looked at him, directly in the eyes.

“With you?”

“With people like you” he clarified, making sure she understood it “Demigods. Half-bloods. Remember what I taught you about the gods?”

“You are one. It’s your job”

She didn’t really get it, that was obvious. But she was still very young, and he didn’t really expect her to do so. Compared to him… well, his life had been already so long, that her presence in it was like a single grain of sand in the beach: small and imperceptible.

And yet, she was the only one of his children he had brought to camp himself. The only one who he had stayed around enough time for her to call him daddy to his face. The only, and first one, for many things.

At sunrise, a centaur emerged from the big house at camp, and noticed pretty quickly the silhouette of the god on top of the hill, and the small child in his arms.

Ares watched Chiron make his way slowly up to them, and he set then Emily down to the ground, helping her put her backpack on (which looked comically enormous on her little form); she grabbed his hand when she spotted the centaur, tiny fingers clutching his own, nervous. He couldn’t really blame her: she was facing many changes in a very short period of time.

“Ares” greeted Chiron, reaching them. The god acknowledged him with a nod, watching the centaur shift his gaze from him to the little girl by his side, trying to hide behind his leather coat “Hello there, young lady” Emily shyly waved back at him, and introduced herself after Chiron did “I assume… she is yours?”

“My flesh and blood” answered Ares “She will be staying at camp from now on, permanently”

Chiron nodded, and stretched out a hand for her; Emily, encouraged by a nod from her father when she looked up at him, went to the centaur, still uncertain.

“She will be taken care of here”

“I sure hope so”

Chiron looked down at Emily again, smiling at her, trying to ease up her nerves.

“Let’s go to your cabin then, young lady”

He gently guided her to the pathway that led to camp, Ares still standing there, watching them go. But Emily turned back around before leaving, searching for his eyes.

“Daddy?” she asked, with the same small voice from minutes before when she woke up “Aren’t you coming with us?”

He wouldn’t. He knew it from the beginning, of course, and Chiron also knew it. The pain in his chest, however, was unknown.

Ares told her no, and he bit the inside of his cheek when he saw sadness invading her gaze. She ran up to him, raising her arms up again, reaching for him with tears in her eyes. She was all alone, and he was abandoning her as well.

Chiron looked away, his heart breaking silently for the young demigod, while Ares stood there, conflicted by his feelings (those damn feelings he couldn’t handle).

“Listen kid” Emily still had her arms raised up, not budging, and he gave in, picking her up “You’re gonna stay here, you like it or not. Don’t go soft on me now”

Emily pouted at her dad, sniffling.

“But I want to stay with you”

“Yeah, but you can’t. You’ll stay here. That’s final”

She made a mad face at him (which made her look more like an angry kitten in his eyes, actually cute, but he wouldn’t admit that), frowning.

“You’re a meanie, Daddy”

There it was. She was starting to hate him too. Yep… All of them did.

“Sorry to break it to you, kid, but life isn’t fair”

He set her down, but she didn’t move, instead looking up at him with her big eyes. She looked like him, he noticed then, very much so in her way of staring at his face: she was fierce, but also vulnerable.

“Will you come visit me?”

Ares sighed, waving his hand as if to shrug it off.

“Yeah, yeah, sure. Maybe sometimes. Now go”

Emily sighed, mirroring him perfectly, and obeyed, going back to the centaur. She did look back at him one time before leaving, though, waving at him.

“Bye Daddy. Love you”

Ares felt that uncomfortable pressure in his chest as a response to her words, feeling like his insides tightened, constricted, twisted and turned all over. He watched her go in silence down the hill alongside Chiron, and he dared to take one last look at her before leaving for good, having completed his self-imposed task of taking his daughter to camp.

“Goodbye, little warrior”

Tough exterior be damned, Ares cared for his daughter.

In the quiet of the moment, where no one was watching him, being completely alone, he allowed himself to hope: He hoped she would be happy. He hoped she would be safe. He hoped she would forgive him for leaving her there.

And he also hoped he would someday be able to forgive himself for doing so too.

***

Taglist: @strawberryys-stuff @ladysybilchronicles

[sleepingdeath-light]

relationship hcs ; adam

requested by ; mod / self indulgent

fandom(s) ; hazbin hotel

fandom masterlist(s) ; here

character(s) ; adam

outline ; “dating headcanons for adam”

note ; this may be a smidge out of character as i have never written for him before, but hopefully you’re able to enjoy these headcanons regardless ^^

warning(s) ; some canon-typical douchbag behaviour, but mostly fluff!

for as much of an asshole as adam can be, once he’s committed to someone he’s loyal as hell — granted it’s difficult to get a playboy like him to agree to complete monogamy, but it’s not a complete impossibility if you’re willing to put in the time and effort to get to that point with him

hes got an extremely prominent (and, frankly, nasty) possessive streak that he makes pretty much no effort to hide — like the moment he gets jealous of someone, no matter how irrational that feeling, he’s not above going as far as just grabbing you and making out with you in front of them just to prove that you’re taken and adam is not someone who likes to share what’s his

this possessiveness is in good part because of how his past relationships ended (with the two women that were literally made for him either leaving him outright or cheating on him with the same man) and the insecurities that naturally spawned from those experiences — yes he may be the cockiest bastard in all of heaven, and he talks big game about being ‘the dickmaster’ or ‘the original dick’ and all of that nonsense, but once the two of you become an item he is terrified of losing you and seems to make it his mission to ward off any outside threats to your relationship and warn you away from anyone who he can’t scare off

(e.g. openly and frequently shit talking lucifer, hell, and the sinners he kills — portraying them as unequivocally monstrous and cruel without the chance for redemption / being unworthy of your empathy or time in an effort to keep you as disinterested and far from him as possible)

reassurance and praise goes a long way with adam, even if he does tend to outwardly either brush it off or turn it into something more sexual, even more so if you give him something concrete to show that love and praise — e.g. he’s the type of guy to keep every single card you get him for your anniversaries, his birthday (well… creation day would be a better name in his case), or valentine’s day, in a locked box or drawer for him to look through whenever he feels a bit low whilst also outwardly denying being so ‘sappy’ and sentimental

it takes a while for him to feel comfortable taking off his mask around you, but once that you’ve gotten over that particular hurdle and made your attraction and appreciation for his appearance as clear as possible, you’ll pretty much never see him wear it again — well, at least not in the privacy of your home… outside is a very different story

not at all shy about physical affection in private or in public — like from the moment the two of you confess your feelings you’ll have a hard time getting his hands off of you for more than a few minutes at a time (unless you make it clear that you’re not a touchy person, of course… he’s not a complete asshole when it comes to you and he certainly doesn’t want to make the best thing to happen to him since eden go running for the hills)

his favourite place to kiss you is on the lips (he’s the first man, as he oh so loves reminding everyone in earshot, forgive him for the basic choice) and his kisses are all so passionate that it almost feels like he’s worried you’ll vanish the moment he lets go — they’re wet and messy and steal the breath straight from your lungs, yes, and by the end of it you’ll get to see him with his cheeks all flushed and golden eyes gleaming with mischief, passion, and overwhelming affection, but there’s also the smallest hint of something else in his kisses that you can’t quite place (and that you rarely have the chance to linger on before you’re dragged somewhere more private by him to let things get a bit less ‘pg’, or he’s hurrying away to take part in an extermination or to fulfil some other such heavenly duty that sera probably asked him to do weeks ago)

loves having his hair played with and will fall asleep in minutes if you start slowly and gently carding your fingers through his hair and lightly scratching his scalp when he’s laying on your lap — would never admit it though and will go straight as a board and almost shout-talk over you to try and preserve his reputation if you try and bring it up around anyone else (especially lute because she would never let him live that down)

mainly just calls you ‘babe’ or your first name, and maybe the occasional ‘baby’ — though he’s responsive to any and every pet name you give him over the course of your relationship, even the more ridiculous/humourous ones

he keeps an eye out for you at every gig he plays with his band, visibly brightening when he catches sight of you and even pointing you out as his ‘smoking hot partner’ to the crowd before playing one of the dozens of songs he’s dedicated to you — none of them are explicitly love songs, but he thought of you when writing them and that’s enough to gain a dedication in his eyes

isn’t above using his position as the first man to benefit you and your relationship — that can mean anything from rearranging his and your schedules to make sure that you always get to spend some time together each day, or threatening anyone with banishment or some other punishment for making you uncomfortable (it may be heaven but nowhere is completely safe from assholes… adam himself is proof of that)

you’re absolutely spoiled rotten but he always runs any major gifts past lute (who you’re basically guaranteed to have as a close companion after getting with adam) before he gives them to you because he doesn’t want to risk giving you something you hate and pushing you away from him — of course he never tells you this and brags very openly about being so good at picking gifts for you (and, thus, being the most awesome boyfriend in the history of all boyfriends ever)

he rarely ever actually says the words ‘i love you’ and will affectionately tease you whenever you say them to him, but he makes every effort to ensure that you don’t doubt his feelings for even a second despite that

when he’s too busy to accompany you out and about, he always makes sure that there’s at least one of his girls with you just to ensure your safety at all times — especially after one of his exorcists got killed, which made him particularly jumpy and overprotective (yes he knows that heaven is just about the safest place you can be, but he refuses to take any chances when it comes to you)

[sherlockggrian]

we talk a lot about desert duo character development, but I wanna talk about shiny duo for a second because I think it’s fucking INCREDIBLE

(disclaimer, a lot of this is made up lore and headcanons lol)

Pearl and Gem were always pretty close, even though I think? they met in season 8? They’ve always been a duo but Gem was generally the more energetic, smily and over excited one. I think Pearl’s been more reserved even in her ridiculous moments, whereas Gem tended to wear her heart on her sleeve and have a very straightforward, “lets fix it” approach to things. I do think Pearl was the one that fell in love with Gem first, but sort of pushed it away, while Gem was very forward with her attention and did love and cling to Pearl a lot. The life games, especially Double Life, affected Pearl a lot and I think she sort of pulled away from Gem for a bit. Pearl was the killer at this point and Gem was sort of still playing the character of wanting to make everything better, being nice and bubbly and not understanding what Pearl was feeling.

But Gem being in Secret Life really took them to the next level in my opinion. They were close all throughout season 9 obviously, but I see Gem being in the life series as her own choice - she loved Pearl and so desperately wanted to help her and the others and to understand them. Gem at this point is a lot more of a fighter and a little crazier than she used to be, and Secret Life just feeds that and preys on it. At the same time, she trusts Pearl. She wants to be her friend. Pearl knows how the games end, and that there’s no avoiding the ending and no avoiding death. They leave Secret Life with Pearl feeling relieved that she didn’t at least have to kill Gem herself, and Gem feeling bitter and angry that Pearl betrayed her.

And their relationship after Secret Life really gets me tbh. Gem has visibly gone for a darker, more serious vibe to her base and clothing, leaving behind the usual, sunny cottage-corey theme. Pearl is finally trying to heal herself, but has based a little ways away from Impulse and Gem and her older friends. Gem trains for the next life series, she’s determined and she’s angry and Pearl is rejecting it. In a way their characters kind of flipped, from Pearl being the furious killer one to Gem being it. They fight like crazy and they still love each other. They are absolutely my favourite duo at the moment and I cannot wait to see what happens further with them and how their story turns out. Again I’ve made most of this up but it’s based off of canon events so I don’t really care. Goodnight

[onyx-archer]

So... Let's Talk About THAT

I want to start this by saying that I haven't purchased Double Exposure, and I have no plans on doing so because of what this post is about. I know very little about the game, but I do know about the Chloe stuff. That was the one thing I wanted to know about going into the game before I committed to a purchase. Not specifically because of a ship or whatever (though that's certainly a factor), but how they go about justifying Chloe not being in the Double Exposure.

I say that because I knew, based on the marketing for the game being as cagey as it is in regards to Chloe. I knew there'd be some kind of justification to not have her around, because how else are they going to make the game's story work with both endings being "respected." And that's the key word here: respect.

Normally, I'd at least abide by my spoiler policy, where I would mark spoilers for stuff that's super new for like, a month. However, because of what this entails, I really can't be nice enough to do that, as everything I've seen has genuinely made me go "how is this 'respecting' the player's choice from LiS1?!"

Under the cut, there will be spoilers for Life Is Strange as a series. As I write this sentence, I don't know how much I'll go into it, so be warned. I know Double Exposure isn't even fully out, but man, I have a lot to say about this ONE THING in it that has me annoyed to no end.

So... in Double Exposure, the one thing a lot of fans of the first game were wondering was "why is Chloe not in the game?" Some were hopeful that she would be, but realistically, there was no way that was possible without the game's budget being higher. At best, we'd get some new voice lines, but that's about it. Why? Because Deck Nine wanted to "respect" the ending of LiS1 for the players who chose the "Bay" ending. Chloe, in case y'all forgot, fucking DIES in that ending, so she'd, at best, get a cameo appearance in the game where Max returns unless it was decided that the game was set in a timeline where Chloe survived.

It is very clear to me from the jump that unless they made that choice, they'd not have Chloe be around. It was likely that they'd make it so the pair broke up in some capacity (be it as friends or lovers, it didn't really matter), and as much as I didn't want that aspect to be true, it ended up actually being the case. As a fan of Pricefield, this sucks, but as a person who understood from the start that the game would have to find a way to dodge the issue of Chloe in some capacity to tell the story Deck Nine wanted to tell, I could accept it. So long as the way they did so was respectful to the original vision of the characters in some capacity.

And because I'm writing this post at all, it's pretty obvious that isn't what happened.

I want to be perfectly clear when I say that the break up, conceptually, makes sense as a mechanism for a story about Max. In my mind, it would make sense that Max and Chloe's relationship would have some bumps caused by the sheer amount of trauma Max endured during the tail end of LiS1. Finding out that a person you looked up to (Jefferson) was a total psycho who was obsessed with you and likely would have tried something worse than just taking gross pictures of you would leave a person pretty fucking messed up for years. Add onto that the fact that she basically had to do the trolly problem in real life, with the choices being her hometown and it's entire population... or a person she loves so much she couldn't imagine living without them (be it as a friend, or as more than that)... and you'd probably have a therapy bill the size of the Olympus Mons before you started feeling "relatively normal" again.

In a world where the people who were writing the game were better at their jobs, at least in this capacity, they'd look at that, and see how it'd affect a relationship. Max being unable to properly move on, with the only person she can reliably talk to about it being someone she very much wouldn't want to trauma dump on (since you can't exactly tell a shrink that you had time travelled so much that you caused a titanic sized waterspout to level an entire costal town without getting institutionalized), given that said person is likely grappling with a lot of shit themselves (survivor's guilt, for one)... yeah a break up of some kind, even if only a temporary one, is kind of inevitable. Time apart might be something you both need to properly heal.

This would also allow the story to at least try to deal with Max's trauma in a way that is comparable in scope based on both decisions, and it would make sense. If Max were the one to break off the relationship, citing a need to have some time apart to get her head on straight (metaphorically speaking, we all know she ain't straight), it'd make sense that said choice could blow up in her face and leave her a bit emotionally frazzled. Chloe is a person who very obvious abandonment issues, so a decision like that from Max, even if it was only for a while, would likely lead to a much more stressful situation, regardless of how close they are.

This, in turn, would allow the "Bay" ending to be about Max not being able to get over her choice to functionally kill her own best friend, and all of the things she never got to say. The grief being something she struggles with for a decade (or however long it is between LiS1 and DE) would make sense. It'd be in character. Max is a character who is indecisive, and is prone to fussing over mistakes she feels she makes, especially with Chloe. She buries those kinds of feelings in a box until she's forced to confront them. Then she tries to over compensate for her shortcomings. We know she does this because she immediately jumps to help Chloe look for Rachel at the first real chance she gets as a way for her to at least sort of make up for the 5 years of basically no contact. Yeah, there are other reasons she does this, but it can be pretty easily inferred that Max, since Max's whole power allows her to go back in time, which is, in theory, the ultimate way to fix your past mistakes.

I'd be fine if the breakup was purely Max running from a problem she doesn't want to properly deal with. With her being reminded of her choice that killed hundreds of people for one person, even if that person means everything to her. Some people crumple under less, and Max is very much an insecure person, so she'd crumple like a wet napkin eventually.

They could have very easily made a core part of the game Max learning to let go of that part of her past, to finally make peace with her choice. You could even have it be a case where her powers leave her for good, with some kind of, I dunno, storm of butterflies (which I feel could very easily serve as a symbol of Max connection to Chloe, and not as just a symbol for Chloe exclusively). Regardless of the Bae or Bay choice, having her powers literally fly away would also be a way of saying that she's finally "grown up," and that her burdens have been eased, with them flying away with her powers. The guilt? Yeah, there'd always be a little, that shit never goes away, but she'd no longer wallow in it. The trauma? She'd be able to accept it as a thing that happened, and move on in a more healthy way.

If Chloe and her were a couple, maybe she'd end the game with a phone call, reaching out to Chloe in an effort to repair their relationship, to say that she's "done living in the past." She could literally say something like "I'm done rewinding, I'm just going to look to the future, and leave the past where it is." We'd probably all cheer at that kind of sappy bullshit. It'd be sapphic as hell, and it'd be awesome.

But no. That's too nice a thought. Deck Nine had other plans.

In the game, as it is now, there is a distinct problem with the breakup working, and that's the way it happens. In Double Exposure (at least up to Episode 2, as that's all that's currently available), the game is quick to brush aside the idea that Max and Chloe were ever really a thing, and wants the player to go right into being interested in having Max romance the New characters that Deck Nine made for the game! Why'd they break up? Because Chloe is afraid that Max is using her rewind powers (which she supposedly hasn't since Blackwell), and that, because of those powers, she's always going to be living in the past. That she, Chloe fucking Price, just wants to be a free spirit and live for the future, and that, "as much as it hurts," that might be a future without Max in it.

ARE YOU FUCKING KIDDING ME???

Chloe Price, the bony sack of trauma, cigarette smoke, and well documented abandonment issues, is the one breaking off a relationship? Are you serious? You gotta be fucking with me Deck Nine! You wrote a whole ass game about this character, and my opinion of that game aside (I think Before the Storm is dogshit btw), you still miss one of the core aspects of Chloe's whole character? How do you miss the point by this much?

And then... a self-proclaimed former staff member at Deck Nine spoke up on Reddit... said some stuff, and it all started to make sense.

See, Deck Nine has, at least somewhat recently, come under fire for their dogshit working conditions. There were several articles showcasing how toxic that place was to work for a number of reasons by several publications. The writing was on the wall, but a lot of people, myself included, tried to not see it, and just be hopeful for a new LiS game. While I really don't like BtS, I very much enjoyed True Colors, so I was at least a little optimistic.

However, if that supposed former employee is to be believed in any capacity (we can at least say they likely are a former employee, as another former employee basically called them out on Twitter for trying to start a hate brigade... even though they didn't), then Double Exposure was doomed from the start. The creative leads on the project, allegedly, HATE Chloe, and would shoot down ideas that would be more respectful of her in All Hands On Deck (Nine) meetings, even though they asked for ideas due to how they wrote themselves into a bloody corner whilst working on the game the way they did.

Then there's the fact that supposedly some people at the publisher dislike Chloe because they feel that Ashly Burch shit on Before the Storm post-launch (which she didn't, btw), despite her working on a game that replaced her voice with another actress due to a strike. They hired a "scab" to voice the characters, and that might have upset Ashly, a union member. Fair enough. But apparently some people didn't like Rhianna DeVries, which the publisher heard, and said "don't bring her back for any big appearances" or something? So they aren't going to recast again, they aren't going to bring back Ashly for petty reasons, and they aren't going to even bring Rhianna back again (she had a small voice role in True Color's Wavelengths DLC), even though most people are fine with her? Hell, I think she's a damn highlight in the cast for BtS, and I hate that game.

Then I got to thinking: is there evidence that Deck Nine hates Chloe, despite working on Before the Storm? Short answer: I think so, yeah. Long answer? Well...

One thing that is notable about Before the Storm, at least from my perspective, is that said game did a pretty middling job with characters that were introduced in the original game, despite being a prequel. Nathan is nothing like how he is in LiS1, nor is David. Rachel doesn't even remotely come off as the kind of character that people would talk about the way they do in LiS1 after she goes missing (what with her being a big Laura Palmer parallel and all). Fuck, they made Victoria willing to roofie someone to get ahead, which a lot of people called out as tone deaf as hell given what happens to her in LiS1.

But in that same breath, the game introduces a handful of new, Deck Nine original characters, and that's clearly where the effort was. Some were better than others, of course, Samantha was largely pointless and amounted to nothing, Rachel's Parents are just not well written, and Damon is such a bland attempt at a villain... Don't even get me started on the Elliot Rogers looking ass character that shares a first name with that whackjob.

But you wanna know who Deck Nine really likes? Steph Gingrich. And you know what, so do I. I like Steph a lot. She's like, the best thing to come out of that game. But when you pull back and analyze who Steph is, something notable stands out: she's basically Deck Nine's take on "what if Chloe wasn't a bitchy bitch?"

Think about it: Steph is a queer girl wearing a beanie (Chloe's basic aesthetic), enjoys nerdy stuff and Blade Runner (Chloe, even before joining their D&D sessions, was a closet weeb back before she lost her dad), is into punk rock (so much so that she forms a punk band, Drugstore Makeup, with a former girlfriend), likes to smoke weed (to be fair, a lot of characters in LiS do), and even gets a healthy dose of trauma from the storm killing her own mom, or losing two very close friends, one of which is the same person Chloe lost (this is more a Max parallel, but you get it). She even has a pretty distinct "voice" in how she talks that most people can pick out of a crowd pretty easily (which, to be fair, isn't hard, since True Colors has a very muted cast in this respect). Hell, she can even romantically end up with a bisexual with super powers! She's literally just "what if Chloe was more of a nerd and less of an asshole."

This isn't to shit on Steph at all, again, I love Steph, she's great. I'm not even mad about the obvious parallels between her and Chloe. They were friends, of course aspects of them are going to be similar. But when you take those things into consideration when reading that Deck Nine supposedly hates Chloe... and you see how hard the series has pushed Steph (Steph has her own DLC story, a full ass novel about stuff she did between her two appearances, and a comic where she and Alex act as the cool lesbian surrogate parents to a runaway girl with powers), you can sort of pick up on some subliminal parallels. It's hard not to when Deck Nine has a clear bias for a character they made, and how they dislike a character they didn't, despite the overlap.

I could just be reaching, but when I put the pieces in front of me in the context of "Deck Nine hates Chloe" it just adds up. It's kind of hard not to think Deck Nine does hate Chloe, given that before we even find out the specifics of the break up, they have Safi ask Max if she's interested in the new female love interest the devs cooked up immediately after Max tries to basically shut down the conversation about why she and Chloe broke up. Even in the context of Chloe dying, it's clear what they're doing here, and it's not even remotely subtle.

Even if a lot of this is just bullshit, it's clear that Deck Nine had no real intention of "respecting" anything. Why? Because Double Exposure very clearly wants to operate under the pretense that you chose to Sacrifice Chloe. It's the only way the game really works in anyway that's even remotely "respectful" to any fans. The fact that they rejected the premise of DE being set in a timeline where Chloe was definitively DEAD, even though members of the team suggested that should be how they approached this game's story, says that they had no real intention of respecting the integrity of the choice LiS1 players made. Regardless of the reasons why they did this, respect is NOT one of those reasons. They had a story they wanted to tell, but forced themselves to try and fit the square peg into the round hole.

This game already decided to not respect the original creators at Don't Nod by having it be about Max, when they said Max and Chloe's stories were "done." I get it, that's a decision they likely didn't make themselves... but they could have at least tried harder to respect the characters they were given to make a story about a little more.

For all I know, the remaining 3 Episodes of Double Exposure may allow the player to have Max and Chloe reconcile at the end if you don't romance any of the new characters. Maybe that's an ending, and I'm mad for basically just bad writing... but I nevertheless won't be supporting this game with my money as things currently stand.

[katerinaaqu]

What do you think of Menelaus?

Oh that is a good one! For starters I think he is one of the characters that have been massively misunderstood by the modern day narratives. Menelaus in most cases is depicted like a brute who forced Helen or something of that kind to explain as to "why would Helen cheat on him" (whenever they do not support the idea that Helen was kidnapped of course) and they miss the point of his character completely. Also they tend to forget that Menelaus was Helen's choice for her husband. He also did everything to get her back. In the Iliad Helen was truly showing where her heart was set upon when she tells to Paris that he should have died out there

Menelaus is a very complicated and important character extremely emotional and loyal to the people he cares about. In the Odyssey he shows how deeply he cares by showing how terrible his psychological condition was by being extremely depressed thinking on how Odysseus was gone. He also was feeling deeply for his brother Agamemnon, for whom he was also capable of doing anything for and with whom they have been through so much together including their exile or all the trials and tribulations they had been through and I think their relationship is not talked enough either!

All in all I think Menelaus deserves much more attention and much more love as a character apart from the usual "aww the violent husband that Helen wanted to get away from" or even just the "wife guy that wanted to get his wife back". I would love to see more on his friendship with Odysseus, his emotional turmoil with the family of Clytemnestra's side, his love for his wife, his relationship with the rest of the kings and last but not least more content with his brother Agamemnon and how their cursed life affected them!

I admit that even I haven't written much featuring him although I want to! My first mention of his I believe was in the third part of my fic "Guilt"

Also protagonist to my Helen one-shot "The Why never asked and the Because that never mattered"

As well as deuteragonist to my Iliad inspired fic "I Take that Back"

I plan on including him in more works in the future because honestly he is worth of more attention

[ineffable-endearments]

I was rethinking the bookshop meta I wrote a while ago and realized I was not thinking big enough.

The bookshop has always been Aziraphale's version of Crowley's plants (his trauma reenactment), but also, absolutely everything Aziraphale does in Season 2 is a re-creation of Heaven's role. Crowley's behavior also encompasses everything, not just his plants.

I've seen it suggested that centering Aziraphale and Crowley's trauma histories is reducing their characters to behaving like just reactive victims instead of survivors with agency. Or worse, it's "excusing bad behavior." I don't agree with either of these, because I feel that part of Good Omens is about how large, powerful systems affect individuals, and so the context of every character's decisions matters a lot to the overall themes of the story. Everyone starts out working within a system they believe to reflect reality and then has to learn how to break free of it. You cannot really illustrate that without having the characters start out being genuinely trapped with different ways of coping with their reality.

This is an attempt at a pretty big-picture meta. Although it isn't a plot prediction, it's how I think some of the series' themes are going to progress. It starts out perhaps a little grim, but in the long run, it's how Aziraphale's character growth and relationship with Crowley can simultaneously be massive for them as individuals, a crucial part of the overarching narrative message of the series, and symbolic of a change in all of Heaven and Hell, all while allowing the themes to continue to prioritize human free will.

In short, it's about Aziraphale's problems, but it's also meant to be an Aziraphale love post.

All of the below exists in tandem with Good Omens as a comedy of errors. Just because there are heavy ideas does not mean they will not also be funny. Look back on how much of Season 2 seemed silly until we started to pick it apart! One of the amazing things about Good Omens is how it manages to do both silly and serious at once! (I feel like that's maybe a little Terry Pratchett DNA showing through. "Laughter can get through the keyhole while seriousness is still hammering on the door," as Terry himself said.)

Aziraphale has really embraced his connection to Crowley in Season 2, and he has also become considerably more assertive toward Heaven and Hell. These are both major growth points compared to the beginning of Season 1.

However, again, we have the concept of growing pains...Aziraphale is starting to re-create Heaven's role in his relationship with Crowley and humanity. It's really obvious with the Gabriel argument and the I Was Wrong Dance, but I think we see it all over the place: he seems to feel any serious dissent is a betrayal. He also seems to assume there's a dominance hierarchy and he, of course, is on top. Now that he's decided to take control of his own future, then surely that does mean he's the one in control, right?

With all that said, he still seems to have trouble being direct about the feelings that make him most vulnerable. He manipulates people and engineers situations in which he can try to get his emotional needs met rather than saying things outright (case in point: the Ball).

Like I pointed out in the bookshop meta: subconsciously, he's playing the role of God, modified with what God would be if She were everything he wants Her to be. He's generous, almost infinitely sweet, always does what's best for people...or, at least, what he believes is best for people. During the Ball, Aziraphale influences the people around him to be comfortable and happy even when they're not supposed to be, and he limits their ability to talk about things he thinks are too rude or improper for happy, formal occasions.

Doesn't this pattern sort of make sense for an angel who's just discovering free will? Like, at the end of Season 1, he made an enormous choice to stand against Heaven and realized he could survive it. Now he's gone a bit overboard with exerting his own will. Unfortunately, while he's learned to question upper management, he's still operating on a fundamental framework of the universe where there have to be two sides and there has to be a hierarchy. Also, since Aziraphale is on the Good side, he of course has to gear his desires into what's Good rather than just what he wants, so he sometimes thinks he's doing things for others when really he's doing things for himself. (For example, matchmaking Maggie and Nina started out as something he wanted to use to lie to Heaven, but by the time he was commenting "Maggie and Nina are counting on me," he seemed sincere, like he had genuinely convinced himself this was for them and not for himself.)

Aziraphale knows Heaven interferes in human affairs, ostensibly on God's behalf. He thinks She should be intervening in ways that are beneficial. What I believe the narrative wants him to learn is that God and Heaven shouldn't be manipulating people at all, not even for Good, and in fact there is no real meaningful hierarchy.

Anyway, a top-down, totally unquestioned hierarchy is the primary social relationship Aziraphale has known, and it's certainly been the dominant one for most of his existence: you're either the boss or the underling, and if someone seriously questions you, they don't have faith in you - they don't respect you.

No, his relationship with Crowley has not always been like that, but they've been creating their relationship from whole cloth, so how would he know it shouldn't become that way, now that it's "real" and out in the open?

No, human relationships aren't like that, but Aziraphale clearly does not see himself or Crowley as human. As the relationship approached something that seemed like it must be "legitimate," Aziraphale would naturally look for a framework to fit it to. And again, the only one he has is the shape of "intimacy," or what passes for it, in Heaven. What has "trust" always meant in all his "legitimate" relationships? It has always meant unquestioning obedience, of course. What have the warm fuzzies felt like in Heaven? Well, praise from the angels above him is nice, so that must be it, right?

Aziraphale even describes being in love as "what humans do," separating out that relationship style. Someday, I think he'll realize he favors the shape of love on Earth, something that's more inherently equal, more give-and-take. Look at how he idealizes it from afar at the Ball. But I think that, like Crowley before Nina pointed it out, Aziraphale maybe hasn't 100% grokked that it can and in fact should work that way for him and Crowley, too. Just like people can desperately want to dance without knowing how to dance, or can desperately want to speak a language without knowing the language, Aziraphale does not instinctively know how to have the kind of relationship where he can be truly vulnerable and handle Crowley's vulnerability as well.

Aziraphale is downright obsessed with French, known as the "language of love." He's trying to learn it the Earthly way. He's not very good at it, but he wants to be.

This pattern is still present during the Final Fifteen even if we assume Aziraphale is asking Crowley to become an angel again out of fear (and I find it very hard to believe that fear doesn't factor in at all). He's still building his interactions off of that Heaven-like framework: he asks Crowley to trust him blindly, he tries to assume a leadership role with a plan Crowley never agreed to and couldn't follow anyway, and he tries very hard not to leave room for an ounce of doubt. He also suggests making Crowley his second-in-command and obviously does not register that this could possibly be offensive. Again, I think this is because for Aziraphale, there has always been a hierarchy in Heaven, it's started to transfer to his relationship with Crowley, and breaking out of that assumption about relationships is going to take more processing than a single argument can do.

As I mentioned in another post, I don't believe Aziraphale had a real choice about whether he accepted the Supreme Archangel position. I think he could sense that he was not getting out of it and chose to look on the bright side, to see it as an opportunity. And instead of looking realistically at how that would feel to Crowley, he tried to sweep Crowley up to Heaven with him using toxic positivity, appeals to morality, and appeals to their relationship itself. Again, mimicking what Heaven has done to him.

To me, "they're not talking" is a big clue that Aziraphale's approach with Crowley is going to be the mistake the narrative really wants him to face. "Not talking" has, thus far, been presented as the central conflict of Season 3! After losing the structure and feedback Heaven gave him, Aziraphale started creating Heaven-like patterns in his relationship with Crowley, and breaking out of those patterns is what he needs to do. Discovering first-hand that Heaven's entire modus operandi is bad no matter who's in charge is how he can do it.

Look, either you're sympathetic to Aziraphale's control issues or you're not. Personally, I am. He's trying so, so hard to be good. I think trying to figure yourself out (which Aziraphale is clearly doing) is hard enough, and when you start balancing what you want for yourself, what you think are your responsibilities, and what other people are actively asking of you, you're bound to fall into the patterns that have been enforced for your whole life or for millions of years, whichever came first.

It is very easy to assume that people should Just Be Better, but it's not actually that simple to be a thinking, feeling person. My anxiety tends to move in a very inward direction and Aziraphale's moves outward. But I'd imagine the desperation and exhaustion are the same.

Unlike Nina, Aziraphale became a rebound mess. I don't think it occurred to either him or to Crowley that there could be any soul-searching, anything but carrying on with the new normal after their stalemate with Heaven and Hell.

Now, instead of getting rejected by Heaven and surviving it, Aziraphale needs to be the one to reject Heaven. It needs to be a choice. And that choice is going to come from realizing that Heaven isn't just poorly managed but also represents a bad framework for all relationships.

How could this happen? Good question. We're obviously not supposed to know yet, although I think picking at existing themes within the narrative could possibly give us hints.

It's possible Aziraphale's character development trajectory will be akin to Adam Young's in Season 1. Please see this stellar post by eidetictelekinetic for more thoughts about it, but basically, in Season 1, Adam saw that the world was not what he wanted it to be and decided his vision was better; as he ascended to power, he took complete control over all his friends and then soon realized that's not what he wants because there's no point in trying to have relationships with people who can't choose you. It's that realization that leads Adam to conclude he doesn't want to take over the world and to reject the role he's expected to play as the Antichrist. Maybe Aziraphale's trip to Heaven is an attempt at a control move during which he'll realize he's defeating his own point.

Aziraphale clearly wants to be chosen. From the very beginning, he's wanted to be special and cared for - just like Crowley has.

Incidentally, I think Aziraphale and Crowley are going to represent pieces of the bigger picture here, and this - first imitating and then rejecting Heaven's relationship style - can both symbolize Heaven's transformation and directly start it (probably in an amusing, somewhat indirect way, like when he handed off the flaming sword to Adam).

If I'm right - which I may very well not be - I think this would all be so, SO cool. Like, "An angel who is subconsciously trying to be a better God" is a concept with so much potential for both tender kindness and incredible darkness. Add to that the comedy-of-errors aspect of "...but even deeper down, he'd much rather just be super gay on Earth" and you have, in my opinion, a perfect character.

I think this could work for Crowley as well. It's obvious that in the Good Omens universe, at least so far, Hell is all about detesting humans and punishing them; Satan seems to genuinely hate humans (unlike in some of NG's other works). Our perspective on this could change, but it potentially puts Crowley in a complementary position to Aziraphale, as a demon who is trying to be "better" than Satan. But this isn't about being "morally better." It's about things having a point. Crowley's exploits usually have a point: they test people. And you can pass his tests! He sincerely likes making trouble, but Crowley doesn't live to punish.

But, once again, the above paragraph would describe a transient phase for this infinitely charming character. Because, again, I think the point will be that in the end, Crowley's deeper-down desire, moreso than testing Creation, is watching it grow with a glass of wine in hand.

[jessequinones]

Writing Advice: Filler Chapters

I uh...didn't intend to write three different things about chapters but uh...at the bottom of this post there'll be links to my lore chapter and just overall chapter articles.

So, this doesn’t apply to a lot of stories, but mainly to the ones who use a lot of actions. It’s ok to take a break. I’m reading a book at the moment and while there are slow moments in these chapters, once the plot gets moving, there’s almost some kind of action scene or suspense going on that keeps the characters moving. The characters hardly take a breather once the plot gets moving and I would like to tell everyone, it’s ok to relax.

Moving from one action set piece to another can be quite tiring, as the characters and the readers don’t get a chance to take a break. Sure the characters can pause every couple of minutes, but the reader knows it’s not gonna last and is sometimes just waiting for the next action sequence to happen.

Filler chapters are great because they break up the story to allow readers to relax while also exploring your world and characters before the next action set piece occurs. I understand filler chapters get a lot of flak because they don’t contribute to the plot, but that’s fine. They aren’t meant to contribute to the plot, if they are, then they aren’t filler. Filler chapters are used to help fill out the world and the characters while giving the readers time to pause and reflect on what's been going on.

When is it a good time to add filler? That choice is up to you, but let’s take a look at some examples. If your characters are on the run, and others are chasing them. You can add a filler chapter while they’re resting. It doesn’t have to be much, but enjoying downtime at their campfire before moving can be a great way to show off your character's personality. Maybe even hint at some romance if you want.

If your characters enter a new place, at least give that location one chapter before destroying it. In this book I’m reading, the main character goes back home to realise there’s a festival. They meet up with their childhood friend and for a brief moment, they’re happy. That doesn’t last an entire entire chapter. In one chapter they go back home, in the next it’s destroyed, and there is no rest period. There was a moment where the main character and the love interest had a brief moment being cute together, but it wasn’t for an entire chapter. It goes from them being cute, to death.

This location, of the main character's home, could've had great filler. The main friend group could see where this guy grew up. We could see the festival, and how the culture in this town plays out. We can catch up with old characters and have playful banter. There are so many extra scenarios the story could’ve gone into if the story just took a moment to rest. (This isn’t a small book by the way, over 400 pages). Not to mention, this is just after one of their friends had died. Use this new location to show us how they’re reacting to said death. Talk about it. Give them space to breathe, it’s fine.

If you go from one action set piece to another, it might start to feel like these fights ARE the filler as if you have too much, they start to lose their meaning. I skipped over two characters' deaths because I didn’t care for another fight sequence. In both of these character deaths, the main character never has time to reflect on them so I just don’t care, no matter how major these deaths are. There’s never any time to reflect on them. I’m not saying you need to reflect on every death, but some deaths in which the reader might go, “Hold up...that should impact you...why aren’t you affected?” does take you out of the story as you might start questioning the entire relationship between the alive and dead characters.

Filler chapters are most commonly used for romance. Once the characters can breathe, and relax, they start to grow and get close to one another. Filler romance chapters are a great way for readers who don’t care about romance to skip them if they just want to get back into the action. Using filler chapters for romance does make the romance feel more natural since you get the vibe they’re connecting and you as the reader can feel like you’re connecting as well.

Let’s go back to my earlier example, the main character and the love interest in the town in which the main character grew up in. It’s a festival and everyone is having fun. Remember that cute moment which gets interrupted? Don’t interrupt that part. Use the entire chapter as a way for their bond to feel closer, for them to get to know each other, talk about what's on their mind, reflect on what happened so far, and maybe...even...kiss each other. *gasp* It’ll make their moment feel more impactful, as the reader knows it's not gonna last, but for one chapter, it feels like there's happiness.

Filler chapters are also used for world-building. While I understand, that not a lot of people like filler chapters being used for lore, because if the lore was important, why isn’t it implemented in the actual story? But sometimes, if you can only squeeze in the lore in filler chapters, that's all you can do. Now, while I do recommend if there’s anything noteworthy that you don’t want your readers to skip over, maybe don’t put those in the filler chapters. What I personally like to add is just fun little world-building stuff. Things that the reader doesn’t need to know to understand the plot but if they read it they can see that the world is bigger than what the plot gives off.

Honestly, I could probably write another article on how to do this, but I’ll summarise how to use filler chapters for world-building. If your characters are in a city, use one or two chapters to show off that city's culture. You can do this by having them go to shops, or engaging with the locals. If your city is set more modern, have them watch ads that give off snippets of how the world is operating or what’s going on. The city is such a great place to drop your characters in because anything you can think of what to do in a real city, you can do it in a story.

If your characters are at a campfire, and one of them is smart, have the smart one talk about the world, if they’re in a cave and just exploring, have them discover something interesting in the caves. If your characters are in a small town, spend a chapter at a tavern, and have them overhear a song that explains the plot, or adds some lore. Have them go to a church and witness the religion of that area. I think you get the picture. Having your characters interact with the world around them, instead of always making a dash for the main plot will make your story feel a bit more full.

Use filler chapters as a time to reflect and pause on the story. This is mostly used after a character dies and for good reason. If someone dies, you need time to process it. Having your characters always on the move, especially after someone dies feels kind of weird. If five chapters go by and your characters never get time to reflect on someone's death, especially if the dead character was important to another, that might make the reader feel like you didn’t care about said character. If a reader feels like you don’t care about certain characters, but the readers did, the reader might feel betrayed since they wanted time to reflect but never got a chance to.

In the book I’m reading, a character, who’s in a relationship with another, died around page 192, I’m currently on page 278 and not once, did they ever reflect on said death. The character's lover is sad, and the one who caused it, feels guilty, but we don’t get to hear them talk about what happened.

We have, filler chapters being used for romance, lore building, and character deaths, what about just fun? You know how in anime there’s almost always a beach episode? Do a beach episode. Do a fun little chapter that just shows your characters having fun. Yes, I know the world is gonna end if they don’t hurry, but no one is gonna complain if your characters take some time off from saving the world. Again, the best thing about filler chapters is if someone doesn’t like them, they can skip over them. For me, seeing characters take the time to be themselves makes them feel more real. Show off a little goofy trait they have, show off an uncommon fear, just something to show these characters are real. They’re not just one note, they have depth and a personality. If you want, pair up two characters that don’t spend a lot of time with each other and see what happens.

When are filler chapters bad? They only end up bad when there’s a bit too much of them and it feels like a chore to get through just for the main plot. Filler chapters work best if they stand alone and aren’t long. Maybe two chapters back to back, but never three. At that point, readers might start to think these filler sections are actually part of the story. You also shouldn’t be adding in filler chapters whenever you want, sometimes the characters do need to just focus on the main plot of the story. If they’re approaching the villain's lair, you might not want to put down a beach episode, however, just before they approach the evil lair, give them a small chapter to reflect on what's going on and what might happen is fine. Time and place.

Filler chapters at the beginning of the story are also something you might want to avoid, at least until it’s clear when the plot starts. It’s a bit hard to determine what’s filler and what’s setting up the story, but one easy way is to ask yourself, if a reader skips this, will they be missing out on anything? I think it’s a good rule of thumb to establish the main plot of your story around chapter 5. That way you have at least four chapters of buildup, setting up your characters, and the world, as you prepare your readers for what's in store. Once the plot gets moving, it’ll be up to you to figure out when to add in filler chapters, but keep in mind, that some readers would like to read a few chapters of plot-related stuff before their first filler chapter. So if chapter five is when the plot begins, chapter six probably shouldn’t be a filler chapter.

I think that about covers it for now when it comes to filler chapters. Try to imagine a sandwich when you’re making a story. The first bread is the start of your story, the foundation. It’s where the first five chapters go to get the readers invested in what’s about to happen. Then you fill the sandwich with plot-related chapters, and you add filler like the sauce or seasoning. You don’t want to overdo it, but adding them can help make your sandwich taste a lot better. Then you end your story with another piece of bread to seal the deal. Remember, if your plot is about saving the world, and you only focus on that, your sandwich won't be that big, even if there are a lot of chapters.

Don’t get me wrong, some people like a simple sandwich, but if you want to expand it, your story needs to have more than just saving the world plot. Side plots, filler, and character plots can contribute to the overarching plot of your story. After your readers have finished digesting your story, they can look back and be like. That was a good, big sandwich.

Lore chapters post: https://www.tumblr.com/jessequinones/745713565342760960/writing-advice-lore-chapters?source=share

Chapters post: https://www.tumblr.com/jessequinones/745095489988509696/writing-advice-chapters?source=share

[xamiipholia]

okay y'all seemed to like the last one so here's a few more Horizon 3 thoughts:

Aloy won’t die. It would completely upend the series’ themes and just be really nihilistic.

Since Nemesis is a gestalt entity I think it’s a safe bet that we’ll see Sam Witwer, Carrie-Anne Moss, etc again. I’m curious how they’re going to do it because at least structurally, it’s basically a reaper. Maybe it’ll use different Avatars when communicating like the Leviathan in ME3. 

It's gonna take some work to make a flashback/dream/vision not contrived but I would love to see Varl and Rost again. I think we deserve that.

Minerva is gonna have its work cut out for it blocking access to both the dormant Faro Swarm and the ZD terraforming system. 

I wouldn’t be surprised if Nemesis has some sort of corruption function that becomes the equivalent of the corruption in HZD. It would be a really fun tech showcase if GG uses Zenith nanotech for machine corruption and leans into mechanical body horror.

If we’re going to Ban-Ur I really really hope they do the work to make the Banuk less problematic and more fleshed out as a culture. A quasi-Spartan society absolutely would not survive in an extreme environment, *especially* without megafauna to hunt. The Banuk characters are lovely and well-written; they deserve a society as well thought out as the Utaru or Carja. I’m honestly fine if there’s retcons or revamps to the cultural lore because the whole “outsider barges in and becomes chief” is rooted in racist, colonial tropes and we just don’t really need that imo.

The most recent footage of Death Stranding 2 (also running on Decima) has me SO excited for the visuals. GG’s gonna knock it out. The facial rendering and animation that Kojima Productions are doing looks industry-peak and I’m sure GG’s gonna match that. Aloy’s Gay Panic™️ scene on the beach in HBS is already top-tier nonverbal storytelling through animation. Digital Foundry actually just posted a really cool tech breakdown of the current Decima engine. I’m especially excited about the environmental stuff. The ocean simulations in HFW are already incredible and I hope they increase verticality in the world. I can’t wait to see the Sacred Lands in current gen graphics. 

I really love Kotallo’s DIY arm and it’s so so important to his development but Beta and Gaia now have access to Zenith nanotech, maybe give your buddy a sick upgrade hmm?

Speaking of, I can’t wait to see Beta come into her own. She’s one of the best parts of HFW and Aloy’s character absolutely shines in a sibling dynamic. 

I wouldn’t get your hopes up for a romance mechanic. Everyone’s feelings on that aside, it would be really odd from a game development perspective to just overhaul part of how the narrative develops Aloy’s character in the last act of the story. Yeah, there are flashpoints but I would argue that the presence of choice in Horizon is smoke and mirrors- cosmetic at best. Kentucky Route Zero (which you should play) does something similar where the player is given a certain amount of control over the substance of individual conversations and scenarios and it does absolutely nothing to alter the plot, by design. I think it’s the same here - this isn’t really a choice-based RPG, the flashpoints don’t really affect anything plot-wise or for Aloy’s character development. Olin is still out of the story, Nil lives, Regalla still dies one way or another. Aloy’s character development is pretty firmly on rails (think Jin Sakai, not Shepard - you get to guide some momentary character reactions but that’s it). I don’t think HBS is a testing ground either - If they were gonna introduce a romance mechanic I think they’d just do it, and not spend two years making a direct continuation of HFW’s main quest and establishing a specific romance hard-baked into the plot, complete with multiple leitmotifs for the character relationship (which is something they haven’t done before afaik) just to introduce a side quest mechanic coming in 5 years. I genuinely can’t think of any game or dev that has beta tested a major alteration to upcoming game mechanics that way - it doesn’t really make any sense in terms of developer resources, and these games are extremely time-consuming to make. I know this is a thing a bunch of people want and I can totally empathize with that! I just think it’s probably not on the table. 

I would bet money the series will bookend itself and the epilogue will involve a) the naming of Zo and Varl’s kid and b) Lis’ pendant. 

Mostly I'm just looking forward to being surprised. One of my favorite things that Horizon does is use carefully established elements in the world to pull the plot in unexpected directions and keeping the world grounded while they lean into speculative science fiction. I can't wait to see what Guerrilla is cooking up