#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.

[ewingstan]

So whereas Worm and Pact were basically sprints to the finish with their stories, with very few breaks between events outside of Worm's infamous 2-year timeskip, Twig and Ward both make frequent use of timeskips between arcs. This has its drawbacks and benefits. Putting a timeskip after a major world-shaking development allows the audience to see how the setting has settled into an interesting new status quo, whereas a more temporally continuous story can only really show the immediate reaction to those developments. But wildbow's choice to have those timeskips often occur right after those big developments means we don't get to see those immediate reactions, either from the setting's society or from the characters themselves.

Iota has criticized Twig's tendency to jump forward right after a juicy character beat happened, depriving the audience of the potentially very interesting look at how Sy and the lambs staggered back from various bombshells. We only see them months later on their next mission, visibly affected by what's happened but having moved past much of it. I have mixed feelings about how the timeskips are used in both serials, but I'll say that this problem hurts Ward much a lot more than it hurts Twig. This mostly comes down to what the story focuses on in between timeskips, and how Sy and Victoria narrate their respective teams.

We don't spend a lot of time with the lambs outside of missions, which you'd think would create a problem of never seeing their personal relationships develop. However, Sy famously cannot bring up a character without giving his complete overview of their perceived character, how they can be cracked, and how they compare to his favorite people. This means that we're constantly tracking how Sy's relationship to the Lambs and various other characters is shifting. We see the moments when he goes from comparing Lillian negatively against the other lambs, to comparing doctors negatively against Lillian. If the timeskips mean we miss seeing interesting conversations where characters relationships start to shift, we're never in any danger of missing how those relationships shift.

This also lets us get a good idea of what the time we skipped over looked like. Alongside his constant descriptions of other characters is his descriptions of their attitude towards him. When he does this to the lambs, it often involves a lot of backfilling of what their relationship has looked like in-between arcs. Lots of "I don't know why the others think I've been losing my edge. They've taken to cuddling with me every night for some reason. They say its so I don't cry myself to sleep from losing Jamie, but I think they're being silly an I'm being So Normal about everything." This is sometimes less effective than just showing us those moments, but it at least lets us fill in the gaps.*

Compare this to how Victoria narrates other characters during combat. Like with Sy, we'll get a lot of description of how she feels about enemies and people she's wary of. She tells us exactly what her problems with others are, and what about their psychology can be exploited in a fight or negotiation. But unlike Sy, she doesn't do the same for her teammates—not unless she's worried they're not going to be able to follow the plan.

This isn't a flaw in isolation; it's actually some pretty slick characterization of Victoria and Breakthrough. Whereas the lambs don't differentiate between communicating as a group of friends and communicating as a team—being on a mission never gets in the way of their shit-shooting, friendly teasing, and melodramatic accusations—Victoria noticeably changes how she talks with and about her teammates when on missions. This shows us how she ends up reproducing New Wave's problems, and how leading them as a hero team prevents her from being able to help them as friends. And it makes it all the more interesting when, say, she's actively worrying about Kenzie during missions in the way she's worrying about her in her daily life.

The problem comes from not having enough of the out-of-mission scenes to contrast it against. Because Victoria usually isn't narrating her perception of her teammates during combat, we need to rely on how she sees them and how they're interacting out of combat to see how their relationships have developed. But despite being what Ward is arguably set up for, Ward skips over a ton of opportunities for these interactions in order to get to the next big action piece.

All this leads to a situation where after 17 arcs and thousands upon thousands of words, I couldn't tell you how Victoria feels about Rain. I couldn't tell you how she feels about Tristan or Byron. I could tell you how she feels about Sveta, but I couldn't tell you how their relationship has changed over time. Hell, I know more about how she feels about Damsel than about Swansong, because in combat scenarios she's constantly thinking about whether Damsel can be trusted, while after a certain point Swansong gets trusted to the point that Victoria isn't narrating what she thinks about her.

This just....it seems like such a missed opportunity given Ward's premise. This is a book about a therapy group becoming a peacekeeping force, and the ways that goes wrong. The ways Breakthrough's opinions of each other shift and develop should be the focus. We get a great look at how Victoria feels about her relationship to Kenzie and her worries about having her be part of the team. But shouldn't we have at least some idea of her feelings about how the other members are being affected by the group? Isn't it a problem that her opinion on half the team has barely changed after she first met them?

*this is also why Twig's timeskips become more detrimental in the last third of the book. Sy is with the lambs a lot less, and we can't track how he's changed by looking at how he thinks others are considering him. This was less of a problem in the arcs where Sy and Jessie were living together, and Sy was constantly considering the ways they did and didn't work well as co-conspirators and cohabitators. But bizarrely, he all but stops thinks about how Jessie considers him after they start dating. Further, he's too befuddled by Helen to seriously consider what she thinks about him. I see this as a big reason why the last arcs weren't able to fully express how he'd matured into the state he'd apparently reached by the end.

[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.

[slowburningechoes]

Controversial!!📌📰 ‼️🚨Bobby does not have great chemistry with a lot of stage actresses for some reason! (They still do amazing and touching art of course.)

I saw more than couple of opinions and reviews around about Him&Helen having zero chemistry?It was big critique for a Zoo story too.I think his most intense “romantic” stage bond was Violet Hour.Maybe it’s young passion idk.Camelot was definitely warm in feeling but it’s hard to judge because it’s different genre and lighter.We were robbed of a reading of “All the frozen ones” so we will never know but pics were sweet!

Very interested in your opinion!Do you see it differently? Especially interesting because you are psych!

that is certainly a hot take! here is my (excessively long) opinion…

i think there is more criticism for this lack of romantic chemistry the older he gets — many reviews from the 90s-00s do not express this concern often (even when he played opposite his Zoo cast-mate, Katie Finneran, 20 years earlier in You Never Can Tell) and especially not as often as they have in recently years. this is extremely frustrating imo and has prompted a lot of reflection…

ageism is something I’ve been thinking about since engaging more actively with the RSL community - especially as much of the fandom rn are minors. though they are often jokes in good humor (and I do, too, at times), I think there’s this huge focus on the fact that he isn’t 20-30-something anymore, calling him “peepaw” or making fun of his older physical qualities. it can be funny once or twice (mostly when it’s silly gen z humor), but it is important to acknowledge that society desexualizes people as they age because they lose many socially expected characteristics of beauty. Robert is no exception to that to many people (even some people who are “fans”), as he shows natural signs of aging… which society automatically finds deterring.

even just reading reviews about their age being a barrier to the believability of Betrayal brought this up. as if people who are in their 50-60s cannot have love affairs or have young children (which RSL does himself), or that their decisions would be that much different than if they were younger. I am SO glad that he was asked about this in his recent interview. Bobby’s response was wonderful and one that I agree with very much — age does not impact the relationships, script, and outcome of this particular show much.

additionally, it is difficult not to let reviews (even professional ones) sway our opinions of a production and cast performance. it is hard to say the quality of Bobby’s performances if we have not seen each of them ourselves. for example, many reviews of Betrayal were negative regarding his and Helen’s chemistry — but that did not consider how their roles were written or how every audience member would interpret it. when I went, though, I could not disagree more (at least on Robert’s end)! for other shows, we are only able to comment on clips or on those reviews we do have available, which isn’t necessarily an accurate depiction of his performance or how any one person may feel about it!

another point: plays are also very different than tv and film. I think in recent decades, we’ve really gotten accustomed to seeing this raw, hot, “I want to f*** you right now” energy between characters and calling that chemistry. but that’s not really true chemistry. while many tv and films do dive into the deep intimacy and true connection of both lust and love, theatre is able to show it on an entirely different level since it is live and in person. there are also many directorial choices which can impact performances across all forms!

personally — any time I have seen clips of Bobby as a romantic lead in a play (in person during Betrayal) or another form of media, I never doubt his romantic chemistry with his partner. he always seems to look at them with such genuine affection, speaking to them like he’d love to hear them talk forever, touching and kissing them like he truly means it. but I also adore him, which could also impact my own perspective in all of this.

overall, we must keep in context the play and the character he is playing, the potential for directorial choices, and our own biases (even if we don’t realize we have them - we all do, whether it’s ageism or loving Bobby or thinking he can do no wrong).

+ p.s. YES!!! we were so robbed with All the Frozen Ones not being recorded. :(

[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.

[spirk-fic-recs]

Hi! This one might be a bit of a long shot, but I've had no luck so far despite both asking around and putting a hell of a lot of time into it, so I figured I'd see if you know what I'm looking for!

Just about the only thing I remember is this: Before Kirk became Captain, Spock was largely antisocial. He had no real friends or confidants. When Kirk joined the Enterprise, however, he puts effort into befriending Spock, and, to the shock of the crew, Spock responds well to this, becoming very nearly talkative once it becomes clear to him that Kirk is genuinely interested in what he has to say. I believe Uhura is the POV character for some of this, and she muses that she feels guilty that she never realized that Spock wasn't antisocial entirely by choice.

I think it was probably TOS (though it's always a toss up whether things are tagged properly), and it was probably decently short (under 14K), but neither of those are guarantees. It would have been complete, though.

(If you don't know the fic off the top of your head, don't feel too obligated to go searching - I've done a fair amount of that myself (and haven't given up yet), but frankly I am starting to worry that it's just been deleted since I first read it 😅 so, uh. no need to trouble yourself overmuch!)

Hey @a-most-beloved-fool! Unfortunately this doesn't ring any bells for me, but I'd still like to give you some wholesome recs with Uhura's POV as well as her friendship with Mr. Spock /Jim 🥰 For anybody that knows which fic our friend is talking about, feel free to reply to this post so that we may locate it:) Uhura POV / Spirk-Uhura friendship fics:

Jim and Nyota's Guide to Friendship (TOS, 11382 words) by Solid_Medical_Advice

A collection of little stories in which Kirk and Uhura look after each other and love each other. These two are my absolute favourite platonic pairing, and I don't see enough friendship rep between these two! Some of the stories are episode- and movie-related, others are just silly thoughts I had. Updates as I come up with them.

Yellow Roses for Her, Orange Roses for Jim (AOS, 13978 words) by Misscar

How do you survive your break up when you must live and work with your ex? How do you move on to someone else without wrecking two very important friendships? Valentine's Day 2259 will be entertaining. This is a different type of love story. A Valentine's Day story for the rest of us.

Girl’s night (TOS, 4512 words) by T_Bar

Spock could not remember just when did he and Uhura become such good friends, nor could he recall when did she first invite him to spend the evening together watching ‘cheesy’ rom-coms from the twenty first century while she did his nails. He did however remember that tonight, they had yet again scheduled their “girl’s night”.

not my type (AOS, 7469 words) by soetry

Nyota now feels ridiculous for thinking that Commander The-Only-Reason-I-Don't-Always-Get-My-Way-Is-Because-I-Believe-In-Federation-Law Spock would ever actually let something go.

My absolute favorite. pure crack

Intemperate Hearts (AOS, 4077 words) by ByCandlelight

How could Spock be lonely?

Strange Spectacle (TOS, 12585 words) by batwonder

It is a well known fact across all known galaxies that Vulcans are a very private people. Be it in culture, civilian life… in all aspects of their lives, they keep to themselves. They do not encourage emotion or public displays of affection. Even the vulcans that are allowed to be more intimate, such as married couples, only seem to “touch their hands”, and nothing else. This is why, when James Tiberius Kirk, captain of the USS Enterprise, publicly stated that he was in a serious relationship with his Vulcan first-officer, people were… stunned, to say the least.

In this fic, Uhura makes an appearance in Ch. 2 hehe

Happy reading!

-M

[lilu787788]

There is something hypnotically compelling about Aleksander—something that has stayed in my mind ever since I watched the series in 2023 and read Demon. The more I think about him, the more certain I am: Aleksander is not only a fascinating character, but someone who truly belongs in stories written for adults. Stories that do not shy away from the complexity of human nature and dare to hold its gaze. He is perfect not because he is easy to love or simple to understand, but precisely because he is not.

Aleksander challenges the simplistic labels of “hero” and “villain” that fiction for younger audiences often relies on. He exists in that grey space where most of us find ourselves when the world stops being black and white. And in that space, he reigns. He is power and sorrow, a visionary and a warning. He embodies the contradictions that adulthood brings like regret, responsibility, longing, and compromise. He has lived for centuries, bearing witness to the repeated cruelties of history and still clinging to the hope that things could be different. That his people, persecuted Grisha, could live in safety and freedom. And yet, the means he chose to protect them are exactly where many draw the line. But that is what makes him so exceptional. In characters like him, I see a kind of honesty that is rare and precious.

Aleksander made me ask uncomfortable questions: What would I do if I had the power to protect those I love? Would I make different choices? Would ambition, pain, and revenge affect me too?

These are questions for people who have lived a little, who have made mistakes, who have loved deeply and maybe lost, who understand that life is rarely tidy. Aleksander belongs in stories for adults because his arc demands a certain emotional depth to be fully appreciated. While young protagonists often wrestle with first love or the discovery of who they are, Aleksander already knows who he is and has come to terms with the cost of that knowledge or at least tries to. That internal conflict, that painful self-awareness, makes him a rich subject for a mature narrative.

His suffering and his struggle against a brutal, merciless world where passivity would have meant annihilation are a perfect example of how he fits the mold of a tragic hero. His tragedy stems from a deeply human, heartbreaking need to protect, to fix what is broken, even at the cost of great personal sacrifice. He is morally grey in the truest sense: not because he is edgy or cruel for shock value, but because he follows a path carved by grief, necessity, and an unrelenting sense of duty. He carries the weight of hatred because someone had to. Because the enemy left him no choice.

Even his relationship with Alina is full of nuance. It’s not just about light and shadow, it’s about power and vulnerability, longing and the tragedy of being misunderstood. There is desire and deep love, yes, but also deep respect and recognition. He sees her not as a symbol or savior, but as a person. That alone sets their bond far apart from the oversimplified romances often depicted in fantasy. What exists between them isn’t pure or innocent but it matters. It reflects a kind of love that adults understand: shaped by pain, loss, and difficult choices.

Aleksander’s story deserves to be told without compromise. A story where we sit with his silence, his anger, his tenderness. Where we not only witness his actions, but understand them. He is the kind of character who would flourish in a narrative that doesn’t shy away from harsh truths or emotional complexity. His origins, the way grief shaped him, the weight of immortality, the slow petrification of a heart that still dares to hope - these are not footnotes. They are the core of the story.

Even in a fantasy world, Aleksander feels real. His choices reflect the hard decisions many would rather not face. And that is why he belongs in adult literature, not as a side note or a caution, but as the beating heart of a story that embraces complexity. A story that understands that heroes don’t always wear white, and that sometimes, a line must be crossed so that others can sleep safely at night.

Aleksander is not a fantasy. He is a mirror. And he deserves to be seen clearly.

[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)

[emeraldspiral]

Say what you will about the ability of the people chosen for the project to deliver a Zelda movie that doesn't suck. But I'm seeing a lot of people saying Zelda doesn't have enough story to make a movie and I'm like... What are you even talking about? Zelda games are probably the most narrative-driven out of all Nintendo's IPs and the lore is a big part of why they're so popular.

Like, something like Mario or Banjo-Kazooie can be a challenge to adapt because there's basically no plot-progression between the inciting incident and the final boss. You just visit a bunch of different worlds to obtain tokens and none of it builds toward anything and there aren't any narrative twists or turns and nobody has a character arc. But that hasn't really been the case for Zelda since the very earliest games. Virtually every Zelda from Link to the Past onward has some semblance of a plot with a beginning, a midpoint plot twist or reveal, and an ending, storylines that play out for various NPCs and sidekicks, and lore drops explaining what happened in the ancient past that informs the current state of affairs, and things that change throughout the game that show the impact of Link's actions as he completes different legs of his quest.

But also like, even if it were true that Zelda games "have no story", do these people have no imagination? Think of all fairy tales that have been adapted into feature-length Disney movie that were originally like a 10-minute read.

If anything a Zelda movie is a bad idea because I'd rather have a series. Like, IDK if they're going to make an original story, but if they were going to adapt one of the games OoT seems like the obvious choice. Not just because of its popularity, but because of it's impact on the rest of the series as the origin point for the three divergent timelines. And I feel like if you were to do just one movie based on OoT or even split it into 2 movies, it would still feel really rushed to have Link bouncing from location to location to get all the spiritual stones and sage medallions and there wouldn't be enough time to really develop all the different races and their problems and Link's relationships with the sages beyond what we already got in the original game in just 2-4 hours. So what would be the point?

I'd rather see it adapted as a series that can take its time fleshing out all the characters and adding more depth to the original story. I want to see Navi with more personality and more of an emphasis on her developing a bond with Link and how her leaving at the end affected him so you have a deeper understanding of his feelings going into Majora's Mask. I want an episode dedicated to Ganondorf's backstory and how a harsh life in the desert and the influence of his surrogate mothers turned him from someone who might've been a noble leader at one point into the person he ultimately became and how he and Nabooru may have once been close until Ganondorf's moral compromises drove her to oppose him. I want an emphasis on the coming of age aspect of the story with Link's peculiar position used to explore the question of what actually makes someone an adult. I want an episode dedicated to showing us everything Zelda went through after her kingdom was taken over and she had to go into hiding and learn to fight so she could one day take it back. There are so many opportunities to expand upon the ideas presented in the original OoT that one movie wouldn't be enough to do it justice.

But that's pretty much true for most Zelda games. Like, they all have at least 4 dungeons, but usually more, and there's always a sidequest you have to do for each dungeon to make it accessible, and it usually involves helping out the people living in the immediate area surrounding the dungeon who are being affected by whatever curse has befallen it. So even when the plots are really thin, the very nature of them being structured and paced around taking you to a bunch of different locations that each have their own mini-narrative attached makes it awkward to try to adapt any game or even write an original story following the formula of the games as a single three-act movie rather than as a series of episodic chapters.

Something like Majora's Mask would especially benefit from being adapted as a series rather than a movie since it's the sidequests that make it as beloved as it is and it would feel too cluttered to try and cram all of them in, but you'd lose a lot of emotional impact if you only focused on a select few.

[ranahan]

Trying the Republic Commando novels again,

spoilers under the cut!

At first I was really skeeved by both the pregnancy storyline and Kal’s character (he’s great as a fictional character, but man, what a piece of work). But now I’m starting to question why these elements were chosen for the story. What questions is the reader invited to ask? Is it just the author’s own biases showing, or are these elements there for a purpose?

I find the choice of Etain’s pregnancy storyline and her reasoning of “giving Darman a future” interesting. The “my line and legacy will continue after me” is a natborn concept. Would clones even attach similar sentiments to reproduction? I think not. If you shared your genetic code with millions of others, would you feel it was tied to your individuality, or would it feel more like common property? Would it be a part of what makes you, you—or would you find the part that’s not genetic more important? Would giving it to a child be an act of tying you together, or would the act of raising them (like you were trained by your training sergeant or brothers) be more salient?

Is this a purposeful “cultural” misunderstanding from the author’s part? I’d find that an interesting angle to explore, but since the pregnancy is hidden, we don’t get Darman’s thoughts on the matter (at least as far as I’ve gotten so far). Or is it simply a misunderstanding the purpose of which is to illustrate the clones’ position and other people making all the decisions concerning them, even outside the military life (Etain’s to get pregnant on purpose; Kal’s to not tell Darman)? Is the whole point of the plot line that there are no civilian lives and freedoms for the clones? Or is it just the author’s own biases showing through?

Similarly, I’m starting to wonder whether the whole point of Kal’s character isn’t that even the clones’ own father figure controls all their choices? It’s repeatedly emphasised how Kal doesn’t like and refuses to share information, makes one-sided decisions all the time, and bullies around everyone from jedi generals to his own sons until he gets what he thinks is best. He’s a control freak who can’t deal with letting other people make their own choices.

I was first disappointed that even the story that was supposed to be told “from the point of view of the disposable grunts,” actually centred on a pregnant Jedi and a rogue natborn sergeant. But now I’m wondering if the point of these characters isn’t to tell something about the clones? Military fiction after all sometimes does include relationship subplots, to explore how serving in the military affects the soldiers’ relationships and lives beyond the military. So are Etain and Kal serving the same function here, only because the soldiers in question are clones without rights, it works out a bit differently?

I don’t know. I hope I’m getting on the right track here, and not giving too generous an interpretation to the books, because I really wanted to like them (military fiction! in SW!) but then to my surprise didn’t. So I’m trying again with a bit more deliberate engagement with the elements that bothered me the first time. 🤔