#so much more powerful in all of its facets

[moe-broey]

Idk if I'm gonna be able to articulate this on the fly like first thing in the morning, but. I think my ENTIRE body of work is This: Examining how family ties, bonds or lack thereof, the good and bad AND ugly, seep into every facet of who we are and how we come to interact with others. How sometimes, a family tie (or again, a Lack of one), will sometimes bleed into how you act and treat specific people. Will bleed into how you CONNECT with those people (or, will be the very reason you fail to do so).

HOWEVER. HOWEVER. THERE IS A DELICATE LINE. A BALANCING ACT. You CANNOT just simply attribute fanon flavored ideas of found family to such characters. That's too simple, and sometimes, is a complete disservice to the specific character you're working with. I am once again bringing up Chilchuck. YES, him being a dad Absolutely seeps into how he treats his party. But if you call him the party's dad, you're Insane. Do you know ANYTHING ABOUT THAT MAN???? He would prefer you didn't. But I digress. He strikes a fascinating balance, between having The Qualities and ESPECIALLY expressing his care for his party in a Really Specific divorced (separated.) father of three fashion, but that does Not make him a "dad friend". He's a professional. He's on business. He's going home at the end of the day, and at the end of this adventure he's thinking of setting up a shop. I wanted to keep this more vague and broad but like. The Chilchuck example REALLY DOES perfectly articulate What I'm trying to get at, here. He's the perfect encapsulation of How his family shapes him, how that bleeds into his relationships with others, vs Who he is as a person.

How we were raised, our family ties, whether you adhere to it or you've fallen FAR from the tree -- you still fell from that stupid fucking tree. It's in your blood. Literally. It gave you shape, whether you liked it or not. And sometimes some things just set off weird domino effects, that also affect us irrevocably forever.

WHICH IS. TO SAY. I have no fucking idea what I'm talking about. I'm always trying to figure that out. Found family is/can be real, you're not strictly bound by blood if you don't wanna be. BUT. The bullshit I'm constantly on, is trying to figure out how to balance all that without slotting everyone into reductive roles. I'm gay and I seek to destroy the nuclear family. Not attempt to recreate nuclear family 2.0. You CAN reconstruct What Family Is/Means from the ground up, but you have to accept that things are going to get Weird. Because you're Queer. You are fundamentally incompatible with the status quo and normalcy, the solution is NOT assimilation and palatability, the solution is to just. Get weirder. And be fluent in canon. Okay. I love you

[comicaurora]

So uhh. If you feel like talking about it. As someone who lives in the US, how are you being kind to yourself on this upsetting morning <3

Checked in with my loved ones first and foremost.

It's interesting. The vibe I've been getting from my circle is very different from 2016. Much less… dread and horror at a realignment of the understanding of what can and can't happen here, now, in this place and day and age. More "fuck, guys. again? whatever. enjoy your consequences, maybe you'll manage to learn something this time."

Frustration and anger is not the most positive feeling, or even the most fair one to express, but it is a protective one. It hurts a lot less than most alternatives.

And it's quite a shift. It was earthshattering back then. How could this have been allowed to happen? Why couldn't it be stopped? Why couldn't we stop it? Why couldn't I stop it? Why couldn't everyone see what this meant? Why couldn't I make them understand? Did they really not care? What did that mean about humanity as a whole? Were we so thoughtless? How could anyone be trusted?

It seems… much less earthshattering to see it happen twice. Disappointing, sure. Frustrating. But nowhere near as devastating as the first time I saw it unfold. We already knew it could happen. I've already had time to digest the implications. Now I'm just freshly disappointed.

It also feels less indicative of Crushing Truths Of Reality this time. We've seen shit get bad. We've also seen shit get better from here! We know both outcomes are possible, even inevitable. We know hoping for a better future is always worthwhile. This isn't the apocalypse. It's an unremarkably bad turn of events brought on by unremarkably self-centered well-documented human impulses. It's utterly mundane in its unpleasantness. It doesn't need to be dignified with despair.

A democratic election, no matter the outcome or the side we're on, makes us all acutely aware of how outnumbered we are by people whose worldviews and priorities are demonstrably incomprehensible to us. And the first time you get outnumbered, it's a shock. Defeat is haunting. It didn't matter how badly you wanted it; by the very function of democracy, you do not have the power to override greater numbers. (insert electoral college caveat here)

The second time through, I find myself focusing on a different facet that has dramatically reduced the amount of spiralling I'm doing. I don't expect this to work for everyone, but for me specifically, it helped to crystallize a few thoughts:

You don't have the power to control anyone else. You don't. You can't share your worldview and your revelations with them. You can't make them think or understand anything. You can lay it all out for them, but you can't make them listen, and you can't make it click. A mentor can't make their student learn a lesson; that's why teaching is so complicated and hard. An active choice must be made by the person to enable themselves to understand, and they must put the pieces together in their own mind before it makes sense to them, and the pieces must have been presented in a way that makes sense to them in the first place. Lead a horse to water, can't make them drink.

These elections highlight a disconnect in what different groups of people care about; and no matter how clearly you explain yourself or how passionately you perform, caring cannot be forced on someone. Understanding and connection cannot be forced. You cannot make anything or anyone matter to someone. They have to choose to see how it matters in order to internalize it. If they choose not to, that is not your failing. You couldn't have made them do it by just Explaining Better. They are not your responsibility. They make their own choices. You can't reach inside their head and connect the dots for them.

I'm a storyteller. I make stories and put them out into the world. I hope people get something good out of them, but I have no control over what that something is. I want people to be thoughtful and kind and compassionate and hopeful and see themselves reflected in stranges, no matter their differences. I can craft stories that I hope encourage this. But that is the extent of my ability and the extent of my responsibility. I control no-one's actions but my own, and so while I am not having the best day, I am at least content that I am doing what I can, and I am not shattering myself against impossibilities trying to control the things I can't.

Sometimes, people make decisions that I think are really bad. I can't make that not happen. All I can do is try to make decisions that will result in things I think are good. Today, that means checking in on people, and not assigning too much dramatic narrative weight to an ultimately mundane set of unremarkable bad decisions outside of my control. We'll take life as it comes and help each other out when and how we can. Everything else is out of our hands.

[read-marx-and-lenin]

Hi, I’m sorry to bother you. I’ve been attempting to unlearn what I’ve been taught about the DPRK from western outlets, but I’ve gotten stuck on a facet that you can, perhaps, speak to. As is often harped on here in the west, there seems to be a dynastic quality to the leadership, namely the Kim family. Now the fixation that the people have on their leaders I can understand, we can observe the same kind of obsessive fervor in many countries in the west (especially the US). I guess I don’t fully understand the political structure of the DPRK, nor the people’s relations to it. I apologize for the vagueness of this question, and thank you very much for your time.

It is understandable that most people will have no idea about the political structure of the DPRK, and the title of "Supreme Leader" can be confusing if you don't understand how the DPRK's government works.

The political structure of the DPRK is based around democratic centralism, similar to the USSR. Kim Jong-un was elected to the positions of general secretary of the Worker's Party of Korea and president of the State Affairs Commission, which grants him the honorific title of "Supreme Leader" and makes him the representative of the state. However, he is not the head of government. That would be the premier, Kim Tok-hun (unrelated to Kim Jong-un, Kim is simply a very common surname in Korea.) Kim Tok-hun also serves as the vice president of the State Affairs Commission.

The highest organ of the DPRK, meanwhile, is the Supreme People's Assembly, which is a multi-party legislature that votes on laws and constitutional amendments and is responsible for electing both the Premier and the President of State Affairs, among other positions. While there are multiple political parties in the DPRK, the Worker's Party holds a privileged position under the constitution. So while the position of General Secretary does not confer any formal governmental powers, it is still a powerful political position in the country.

The Premier is the head of the Cabinet, which is the administrative and executive body of the DPRK. While the SPA creates laws, amends the constitution, and decides the budget, the Cabinet administers the implementation of them.

The SAC directs the orientation of state policy in the DPRK. While they do not write laws directly, they can issue directives to guide the SPA in determining which laws to write. However, the SAC is ultimately accountable to the SPA and not above it. The SPA is responsible for electing the SAC in the first place and has the authority to recall its members. So while the SAC is not directly elected by the people, it does not hold greater power than the SPA whose members are directly elected.

Members of the SPA are elected by all citizens 17 and older alongside members of local assemblies (compare governors vs senators in the US.) Elections are conducted via secret ballot. Anyone has the right to run for election regardless of party affiliation, which is why there are multiple parties represented in the SPA as well as independent members.

You can read more about the DPRK governmental structure in the DPRK constitution here:

[anim-ttrpgs]

Disabilities and Monsters in Eureka: Investigative Urban Fantasy

Through a discussion with @vixensdungeon (great blog to follow for TTRPG stuff by the way) it came to our attention that some of our more jokey and memey posts and reblogs may have given some people a slightly skewed idea of what Eureka, and particularly the “urban fantasy” parts of Eureka are really about, and its tone. We like to joke around about it, and the “cute monster girl” angle really sells on tumblr.com, but actually playing these types of characters in Eureka is not exactly a power fantasy. They eat people, and often eat them alive. If you find that cute, funny, and/or sexy, well, Eureka is still probably just the game you’re looking for, but that isn’t the main thing. Eureka uses the fact that many of these characters necessarily subsist off the flesh and/or blood of other people as a loose metaphor for mental and physical disability.

Imagine you need something that everyone else has but you don’t. If you don’t have it regularly, you will literally start to waste away. The only way to obtain this thing is to take it from another human being, who also needs it, and others will deny that you need it, and abhor that you need it. It’s not uncommon for people, even “progressive” people, to say something along the lines of “they need to all be killed for the good of society,” even if they don’t realize that’s what they’re saying. You didn’t choose to be this way. This is the reality of monsters in Eureka, and many people in real life.

And then even when you have that thing you need, for now, there are many facets of society that you just can’t participate in because your condition makes them impossible for you, like if a vampire wanted to take a run on a sunny beach. Monsters in Eureka will be challenged by their supernatural weaknesses at every turn, while hiding their abhorrent needs from society and even the rest of the party, and asking why they have to be this way. Finding clever ways to get around and circumvent their weaknesses is a core part of the gameplay of monster PCs in Eureka. Imagine you and your friends want or need to go somewhere, but that somewhere is on the other side of a river. The river has a well maintained bridge. For everyone else but you, a vampire who can’t cross running water, getting across the river is the simplest task in the world, so much so that no one would even consider it a task, but for you, it’s a challenge, and for gameplay, it’s a puzzle.

It isn’t totally hopeless, as many of the jokes and fan comics show (those aren’t just memes, they’re only showing one side of the coin and not the other). Monsters who accept, or even embrace and celebrate their monsterhood, can and do exist canonically, alongside monsters who can’t bear to do what they do. In some cases, these may be the same monster on different days.

I’m going to conclude this post by posting two excerpts from the rules text itself.

Disabilities are Disabling

So why don’t disabilities grant any advantage? It isn’t too uncommon for RPGs to have some sort of “flaw” system, where during character creation you can give your character “flaws” or some kind of penalty, and usually get that balanced out by being able to add extra bonuses elsewhere. Sometimes, these “flaws” may take the form of disabilities.

One particular high-profile indie TTRPG takes this beyond just character creation, and makes it so that if a PC receives a “scar” in combat that reduces their physical stats, their mental stats automatically go up by an equivalent amount, and proudly imply that to make any mechanic which results in permanent consequences or makes disabilities disabling is ableist. We think you can probably tell what we think of that from this sentence alone, and we don’t need to elaborate too much. 

We do think, in the abstract, “flaw” systems in character creation are not a bad idea. They allow for more varied options during character creation, while preserving game balance between the PCs.

But in real life, people aren’t balanced. The events that left me injured and disabled didn’t make me smarter or better in any way - if anything, they probably made me dumber, considering the severity of the concussion! Some things happened to me, and now I’m worse. There’s no upside, I just have to keep going, trying harder with a less efficient body, and relying more on others in situations where I am no longer capable of perfect self-sufficiency.

A disabled person is, by definition, less able to perform important daily tasks than the average person. To deny this is to deny that they need help, and to deny that they need help is to enable a refusal to help. This is the perspective from which Eureka’s Grievous Wounds mechanic was written.

When a character is reduced to 1 HP (which by design can result from a single hit from many weapons) they may become incapacitated or they may take a Grievous Wound, which is a permanent injury with no stat benefits. Grievous Wounds don’t have to result from combat, they can also be given to a character during character creation, but not as a trade-off for an extra bonus.

“But then doesn’t my character just have worse stats than the rest of the party?” Yes, haven’t you been reading this? There is no benefit, except for the opportunity to play a disabled character in an TTRPG. This character will probably have to be more reliant on the rest of the party to get by in various situations. Is that a bad thing?

Monsters Essay

All investigators in Eureka: Investigative Urban Fantasy are regular people. They can also be a monster, like a blood-sucking vampire or a broom-riding witch. Importantly, this works because despite their unique nature, monsters are still regular people. You can read more about this in Chapter 8, but the setting of Eureka does not have a conspiracy or “masquerade” hiding supernatural people from normal society. Though they are still largely unknown to modern science, they exist within normal society - and a lot of them eat people.

The default assumption in RPGs has been that monsters are just evil by nature, doing evil for evil’s sake. RPGs that seek to subvert this expectation often instead make monsters misunderstood and wrongfully persecuted, but harmless. Eureka takes a wholly different approach.

There are five playable types of monsters in the rulebook right now, and it’ll be seven if we hit all the stretch goals, but for simplicity’s sake this discussion of themes will just focus on the vampire. Despite them applying in different ways, the same overall themes apply to nearly every monster, so if you get the themes for the vampire, you’ll get the gist of what Eureka is doing with its playable monsters in general.

Mundane investigators have to keep themselves going by eating food and sleeping (see p.XX “Composure” for more information). Well, vampires can’t operate the same way. They don’t sleep, and normal food might be tasty for them as long as it isn’t too heavily seasoned, but it doesn’t do anything for them nutritionally. Their main way to keep themselves functioning is fresh living human blood, straight from the source. To do what mundane PCs do normally by just eating and sleeping, vampires have to take from another, whether either of them are happy with this arrangement or not. They do not, of course, literally have to, and a player is not forced to make their vampire PC drink blood, just like you reading this in real life don’t literally have to eat food. You do eat food if you want to live in any degree of comfort or happiness, and vampires do drink blood or they eventually become unable to effectively do anything.

This is numerically, mechanically incentivized and not simply a rule that says something like “this character is a vampire and therefore they must drink blood once every session,” to demonstrate that the circumstances a person faces drive their behavior. In America, there is a tendency to think of criminality and harm done to others as resulting from intrinsic evil, but people do not just wake up one day and decide “I think I’ll go down the criminal life path.” Their circumstances have barred them from the opportunities that would have given them other options. 

People need food; food costs money; money requires work; work requires getting hired; but getting hired requires a nearby job opening, an education, an impressive resume, nice clothes, charisma, consistent transportation, and so on. For people without other options, crime becomes the only method left to meet their basic needs. Would you rather take what you need from other people, or go without what you need? There are people who don’t have the luxury of a third option. Failure to meet the needs of even a small number of people in a society has high potential to harm the entire society, not just those individuals whose needs are unmet.

As their basic need for blood becomes more and more difficult to ignore, a vampire is going to encounter much the same dilemma. There is really no “legal” or “harmless” way for them to get their needs met, even if they do have resources. Society just isn’t set up for that. And no, your kink is not the solution to this, trying to suggest every vampire just find willing participants who are turned on by vampires or being bitten is suggesting sex work. It’s one step removed from telling a girl she should just get an OnlyFans the minute she turns 18, or that women should just marry a rich man and be a housewife that gets their needs taken care of in exchange for sex and housekeeping. Being forced into such a dynamic isn’t ethical or harmless for the vampire or for their “clients.”

“Oh well, then the vampire should just eat bad people!” You mean those same bad people we just described above? Who gets to decide which people are “bad people?” Who gets to decide that the punishment is assault or death?

Playable monsters in Eureka are dangerous, harmful people. They were set up to be.

Society not being set up in a way that allows monsters to make ethical choices brings us to the next theme: monstrousness as disability, and monsters as “takers.”

Vampires have to take from others a valuable resource that everyone needs to live, and the extraction of which is excruciatingly painful and debilitating. No one knows what happens to blood after a vampire drinks it, it’s just gone. Vampires are open wounds through which blood pours out of the universe.

This is a special need, something they have to take but cannot give back. Their special needs make them literally a drain on society and the people around them. In the modern world, there is a tendency to feel that people must justify their right to life, that they must pay for the privilege of existing in society. This leads people to consider “takers” (people who take much more than they give back, such as disabled people) as something that needs to be pruned away for the betterment of everyone else. Even many so-called “progressives,” while they claim not to agree with pruning “useless eaters,” still hold the unexamined belief that people must justify their existence. To reconcile these two incompatible ideas, they instead simply deny that disabled people take more resources than most people, and are capable of giving back less. This sentiment is perfectly illustrated by the aforementioned game’s insistence that disabilities are never a net reduction of a character’s stats.

Vampires and other playable monsters are inarguably “takers,” but in positioning them as protagonists right alongside mundane protagonists, Eureka puts you in their shoes, and forces you to acknowledge their inner lives and reckon with their circumstances. You have to acknowledge two things: first, that they are dangerous, that they are harmful, that they take more than they give - and second, that they are people. Because they are people, Eureka asserts that they have inherent value, a right to exist, and a right to do what they need to do to exist. (We also acknowledge that their potential victims have a right to do what they need to do to exist and defend themselves, but that is a separate discussion.)

One final point to touch on is mental illness. Mental illness is a disability, one pretty comparable to physical disability in a lot of ways, so all of the above points can apply to this metaphor as well, but there are a few unique comparisons to make here.

It’s not the most efficient, but there are a couple of loopholes deliberately left in the rules that allow vampires to sometimes sporadically restore Composure (and thus their ability to function) without drinking blood. Eureka! moments and Comfort checks from fellow investigators can restore Composure.

When writing the rules, we came to a dilemma where we weren’t sure if it was thematically appropriate for monsters to be able to regain Composure in these ways (since it could lessen their reliance on causing harm), but ultimately we decided that yes, they can.

People with mental illnesses may have the potential to be harmful and dangerous, but all the information we have access to has shown that mentally ill people with robust support structures and control over their own lives are much less likely to enact harm, whether through physical violence, relational violence, or violence against the self. This is why we kept that rule in for playable monsters. Being able to accomplish their goals, and having friends who are there for them, makes that person less likely to cause unnecessary harm.

Vampires are especially great for demonstrating this because they’re immortal and they always come back when “killed.” They can’t be exterminated, they aren’t going away, there will always be problem people in society, no matter how utopian or “progressive.” Vampires are a never-ending curse, who will always be a problem whether they like it or not. The question is how you will grapple with their inevitable presence in society and how you will treat them, not how you will get rid of them.

Eureka is as much a study of the characters themselves as it is the mystery being solved by the characters. It is a game about harsh realities, but it is ultimately compassionate. It argues through its own gameplay that yes, people do have circumstances which drive their behavior, people do have special needs that are beyond their ability to reciprocate, many of those people do cause harm or inconvenience to others, and all of them are still valuable. 

Elegantly designed and thoroughly playtested, Eureka represents the culmination of three years of near-daily work from our team, as well as a lot of our own money. If you’re just now reading this and learning about Eureka for the first time, you missed the crowdfunding window unfortunately, but you can still check out the public beta on itch.io to learn more about what Eureka: Investigative Urban Fantasy actually is, as that is where we have all the fancy art assets, the animated trailer, links to video reviews by podcasts and youtubers, etc.!

You can also follow updates on our Kickstarter page where we post regular updates on the status of our progress finishing the game and getting it ready for final release.

Beta Copies through the Patreon

If you want more, you can download regularly updated playable beta versions of Eureka: Investigative Urban Fantasy earlier, plus extra content such as adventure modules by subscribing to our Patreon at the $5 tier or higher. Subscribing to our patreon also grants you access to our patreon discord server where you can talk to us directly and offer valuable feedback on our progress and projects.

The A.N.I.M. TTRPG Book Club

If you would like to meet the A.N.I.M. team and even have a chance to play Eureka with us, you can join the A.N.I.M. TTRPG Book Club discord server. It’s also just a great place to talk and discuss TTRPGs, so there is no schedule obligation, but the main purpose of it is to nominate, vote on, then read, discuss, and play different indie TTRPGs. We put playgroups together based on scheduling compatibility, so it’s all extremely flexible. This is a free discord server, separate from our patreon exclusive one. https://discord.gg/7jdP8FBPes

Other Stuff

We also have a ko-fi and merchandise if you just wanna give us more money for any reason.

We hope to see you there, and that you will help our dreams come true and launch our careers as indie TTRPG developers with a bang by getting us to our base goal and blowing those stretch goals out of the water, and fight back against WotC's monopoly on the entire hobby. Wish us luck.

[avelera]

I feel like so much of the silly Mel vs. Viktor discourse when it comes to Jayce would be resolved if people realized that the plot was originally conceived as a basic morality play arc with Mel as the devil on one shoulder and Viktor as the angel on the other for Jayce.

The bones of Jayce's plot in Season 1 is of a good-guy scientist who is tempted by the allure of politics and fame, with a beautiful femme fatale politician seducing him towards power on the one side and his humble 'brotherly' relationship with his scientific partner representing Jayce's 'true self' that he is drawn away from by her machinations. It's a very, very old school, reductive, male-centric plot that literally boils down to "bros before hos".

It even makes sense for S2, with Jayce overcoming his corruption arc in S1 and returning to his "bro" only for his prior sins to tragically launch Viktor's own corruption arc as the Machine Herald only after Jayce has learned his lesson.

And then the Arcane writers and Fortiche subverted this plot. Here's how:

They made all three characters multi-faceted adults with their own agency and motivations. None of them are puppets for the others or, if they are, the time one character spends controlling the choices of another becomes part of that controlling character's sins that must be atoned for (namely, Jayce resurrecting Viktor against his will, Mel manipulating Jayce against his will, Viktor trying to control everyone against their will).

For example, they made Mel complex and interesting and a good person in her own right. Yes, she still has elements of the beauty, danger, and allure of a femme fatale but by making her her own person with her own plot and motives, none of which are malicious (at most, they are self-serving until she changes her views on Hextech and how best to bring peace to Piltover).

Jayce is still torn between Mel and Viktor but he also fully has his own agency, as many are quick to point out. He is often dragged around by the manipulations of others too (Mel yes, but also Marcus, Vi, and Ambessa influence Jayce into bad decisions). Part of his arc is learning how to be true to himself and his own goals after his time spent in the Anomaly future. But, even there, you can still see the bones of the original morality play arc, where the "Good Ending" for Jayce is to go back to his lab partner "bro" and bring both of them back to being true to themselves.

Viktor isn't just helplessly standing by while Jayce ignores him. In fact, Viktor often deliberately cuts Jayce out of his experiments. He doesn't tell Jayce about the Shimmer, or the self-experimentation, or even about Sky's death until after Jayce resurrects him with the Hexcore. Viktor has agency, he has his own goals, and while he frequently chastises Jayce for abandoning their shared dream in what I believe is another hint of the bones of the original morality play plot, he also has his own flaws and his own journey to go on independent of Jayce.

Much of the silly bickering I see between Mel and Viktor fans comes down to who "deserves" Jayce, who is "erased" by not ending up with Jayce, whether or not Mel is manipulative, or if Viktor thinks about Jayce at all when he's busy pursuing his own goals, and I think all of those are absurd arguments.

Mel is manipulative, it is part of the bones of the morality play plot that has her as the antagonist, but they made her so much more than that, that I think it's an active disservice to the character they made to reduce her story down to whether or not she ends up with Jayce. I get why people get hung up on it, because I do believe it's the core of the first draft of her plot, but the richness of her character comes from moving beyond that. Indeed, in S2, the least important part of her character is her relationship to Jayce. She has her own stuff going on.

Whether or not Jayce is a victim of manipulation or whether or not he pursued power for its own sake is also showing an understanding of the basic, core plot they built the richness on top of. Jayce was seduced by Mel's manipulation and he did grasp after power, but they enriched his character by making his goals more noble and more tragic. He's always trying to fight for Viktor, for Hextech, for their shared dream, and for making Piltover a safer, better place, but how he goes about it often makes matters worse until he learns, grows, gains wisdom, and makes terrible mistakes he arguably can never make up for fully.

Jayce also isn't fully a victim of Mel's manipulation, just as she is not fully a mastermind able to control his every move. He breaks away at a certain point and makes his own (poor) decisions in ways that frighten her and make her regret her actions, until he grows enough to recognize the wisdom in her advice (though he later grows again and recognizes the original manipulation, which leads to him breaking up with her in 2.08 because Mel's sins are still there and they are the reason she and Jayce don't have hope for a future together once he realizes he can't trust her because actions have consequences in Arcane).

As for Viktor, he doesn't like Mel. In that, I think we again see the original morality play roots, with him as the angel on the shoulder disliking the devil who is seducing Jayce. But they enriched his character by having him respect Jayce's choices even as he may have privately disapproved of them, and to have his own arc to worry about with his failing health, and his other flaws like intellectual tunnel vision/naiveté, and his tendency to self-isolate in the face of his terminal illness. He has his own stuff going on.

They also subverted the morality play arc to a certain extent by having Viktor stop being the angel in S2. Indeed, the framework more or less falls away entirely and it become Jayce trying to save Viktor from himself, and from Jayce's own mistakes of not destroying the Hexcore, while Mel is busy with her own story of politics, war, and magic.

Anyway, I hope some of this makes sense. But I think if people just recognized that yes, there are elements of Mel as a bad guy in the fabric of the story, of a story where Jayce is in a balancing act between his demons and his angels, but that good writers came in and layered real people over these simplistic plots, made it so Mel's story isn't just about Jayce, Jayce's story isn't just about getting corrupted by a femme fatale, and Viktor's story isn't just about being abandoned by Jayce, and thus elevated the trope beyond its tired-out, simplistic roots, there'd be a lot less wank.

[hexhomos]

Kiss on the check accepted! :3c

And your response reminded me of a detail I always pick up on rewatches but hadn't fully untangled yet—in the flashback of her childhood, Mel steps into that broken throne room with blood still drying on it. At Ambessa's prompting, Mel goes right into talking about how to renovate the place. "Paint the walls gold"...like gilding over the horrors of conquest that got that power in the first place.

And when she describes the regent they should have, she finishes with, "she should be pliant, so we can mold her." That IS what she was doing with Jayce, slowly, over a decade, and then quickly through Acts 2 and 3.

And then in the scene, after Mel finishes describing a "pliant" regent who can be molded, her mother suggests MEL could be that regent. Young Mel is excited at the idea, entirely missing the implication that she too would be an asset of her mother's reign.

That's why she takes off her Medarda ring right before casting her vote for Zaun's independence. She's finally realized she's just as subject to her mother's games as anyone else and Chooses to stop working in the interests of her family's power.

And augh, I wish her s2 plotline hadn't taken her out of Piltover so we could have seen more of the spycraft against Ambessa she was up to in Arc 1. I can't help but think of how much stronger her confrontation with Ambessa would have been if we had a full season of "daughter works against mother" instead of just a few scenes and a lot of getting kidnapped. More ambiguity with Leblanc would've been great too instead of her killing Elora to say hello.

[continued from here]

EXACTLY the way they shafted the politics in s2 (specifically so they wouldn't need to have hard conversations) genuinely had a negative impact in the ENTIRE story. The systematic horrors were downplayed and plotlines were dropped with very short acknowledgements - this is why we get people complaining about the jayce/mel breakup scene "coming out of nowhere" despite the fact that it made perfect sense for these characters!!!!!! It was just too short and they changed the subject too quickly, so we don't have TIME to think about the economic issues again.

It's so clear to me that jayce, viktor, ekko, mel (each representing a diff political facet. curious!) etc were carefully removed from the actual real world so we never have to analyze or push back against the notion that cait/ambessa are doing a hostile military coup and HAVE gotten people killed, imprisoned, and tortured en masse. So they can neatly resolve all of the plot with an avengers-style montage and never talk about the stuff with real world implications. There is no war in piltover and zaun. Just a cartoony last second villain. We just need to unite to protect... piltover...? And now viktor is randomly forgetting his proud zaunite commie stance and teaming up with the imperial invaders that were plaguing the earth moments ago........? We never talk about the class inequality ever again? Forget everything. Nothing ever matters.

The end result was that we spent far less time with these characters and they ended up being pretty underdeveloped. I know this happened for marketing reasons, its so incredibly clear aspects of the story were dumbed down so they could sell more ingame skins or pitch new champions, and that was seen as more valuable and desirable for the company than politicking - because at heart riot don't care about the political stuff anyway. But it still makes me throw my hands up in the air. such an asspull

In a reality where we had enough time and investment to touch on this, Mel could have actually gotten to push back against ambessa/cait and directly deal with the consequences of her actions. SEVIKA could have gotten a proper payoff for her underground character arc, instead of vanishing halfway through and then randomly accepting a diversity hire seat on the council (insanity. that was insanity) Ekko and the firelights would have obviously played a key role in rallying people against ambessa and helping Jinx recover from her displacement crisis (sorry isha, but even you could have been better used as part of the firelights dilemma) Jayce's mounting disillusionment with piltover and his loyalty to Viktor would be much better explored if they were still in conversation about the cities, the world they wanted to help, and the chaotic blurry lines of personhood/citizenship that decide who is an 'acceptable' target under the fist of the state. Vi could have built a self-reliant identity for herself, something better to fight for that isnt 'being a cop'. This show could've been awesome. I wish it existed

[lesfir]

Astarion and Vampire Supremacy. In general and in romance.

In DnD, vampires are huge supremacists. They consider themselves superior to any undead and certainly superior to mortals. All mortals are cattle to vampires.

In Baldur's Gate 3, this trait is also present in vampire culture.

In Astarion there seems to be almost no such things… Or they are not emphasised - as I think they are. In my opinion we should have explored his different traits.

Vampire Supremacy is one of them.

Astarion was an Upper City noble and the chances that he wasn't arrogant towards the "lower classes" are very low. Zero for me. So he was already familiar with supremacism very well. Add to that the loss of his status and the hierarchy of the coven in which he became a slave. That's something.

We barely have conversations with Astarion about vampire culture: what does it mean to be in "vampire coven"? How vampires relate to the mortal world? And what does he like about the vampire world? It's more shadowy moments.

Here I found a few.

Part 1. Details in the story.

EA 9 patch, Act 1 - the grove, after killing Nettie. It's one of those cut out scenes with little companion comments and reduced to a one line or remade. Shadowheart had it too :< Now:

Act 2 - after killing the strange ox. Act 3 - Astarion as Lord says his stuff :D

This word: "spook" cattle/sheep... It's same edge of his character.

In Act 1, you'd think he thinks all "weak" people are sheep. That's true, too. Nettie has lost, she's dead and she's a sheep, but somewhere around here in the grove there will be a hunter for him and Tav - they have to go.

In Act 3, the path of evil, Astarion demonstrates this line deeper and more vividly. In Act 2, it still sounds like something funny, comical. Yes, yes chickens, oxen and people. But these are food animals - and that's not such a joke to Astarion.

To put it in perspective in Act 1 all his companions is a snack. He discusses with Tav what they would taste like. Here's the synopsis for that scene:

Synopsis: Astarion is staring at the other companions around the campfire. He's friendly and affable, but his mind is on his hunger. He starts to wonder what the others taste like, although he's MOSTLY joking. In the end he decides to remove himself, before the conversation gets too real. Mostly a joke that could become something serious.

Vampiric arrogance, predatory nature.

Vampires are clever hunters - their arrogance towards mortals comes in many forms, from food to merry carnage to lust. Basically, they use whatever gives them profit and pleasure.

He might not eat Laezel, but watching Lae and Shadowheart fight is entertainment for him.

Looks fun, but the nature of it is dark. It can be taken ironically, but he really enjoys watching brutal fighting and generally killing. It's a trait. Deserves its own post.

WYR_SmugglersCave_PAD_Suggestions He do hope. It's also relevant to mortals. Corrupt people with power are as parasitic creatures as vampires. Instead of blood, it's gold, work, and entertainment in an wicked way that damages people.

In this I notice the metaphorical nature of vampirism in Astarion's character. As an example of corruption I recall Astarion's little remark when we kill the two ogre-lovers of the barn.

The insignificance (who cares about two ogres) and again the comicality of the situation, the way Astarion smiles as he opens the barn is legendary. Kind of hides it a little bit and takes it away from the thought…

Somewhere in Baldur's Gate someone is paying gold to watch fights, and it's unlikely these fights have civilized rules. And it's doubtful that such a entertainment would only apply to ogres. The fighting pits at Baldur's Gate. Who knows if Astarion was interested in that when he was mortal. I headcanon that he was. He was extremely corrupted and it's deep in his personality.

Here is this telling facet, Astarion's interest in such brutal things, which are as much in the shadows as gremlin remarks, yet there is exactly "evil" in this one. This part of that aspect: The arrogance of the Noble and the Vampire. More points about treating people like cattle. There is a moment in Act 2 - and I have absolutely no idea where it is. SHA_Mausoleum_PAD_MakeshiftVessel Players find a vessel with a half-formed humanoid shape gestating inside and reacts accordingly. The being is just inert flesh and cannot speak. How to trigger: Interact with S_SHA_Mausoleum_MakeshiftVessel.

Where is that thing? I can't find.

In good companions, this is a cause for concern. In general the place where they found it contributes to very unpleasant thoughts. A mausoleum in the shadow lands of Sharr, where a necromancer and the chosen of Myrkul struts around. Well, Astarion too, as you can see... finds a downside. Hunting people is fun and keeps you in the spirit.

It's a good idea to check all the phrases in Astarion's Original throughout the acts. Maybe there's more.

I watched the epilogue of Lord Astarion Original and in a conversation with Minthara (hah, who else?)

And it's wild. It's literally all about the people. :D

We have a few to choose from for rpg's. And given the line about sports… I really don't think Astarion will be buying "food" very often. Or that pale arse is lazy after all and his hunt is a park in the city. And when he should be setting up his power web in the city, he's too busy for hunting.

Can you imagine him wanting to hunt and get some air, but he's got some lordish business in the halls until late in the evening.

Part 2. In Romamce.

This part departs from such direct things as blood and the predator's attitude towards people. It becomes more sensual.

I would say this trait of supremacism is slightly visible, but not over people, over mortality in a greater sense, when Astarion turns Tav: he emphasises the strength, sharpness. Better.

The morning after the turn.

He has a point. The last time he was mortal, he was killed.

Astarion as Lord does the same with God Gale Original mentioning immortality as - strength, lack of illness and youthfulness. love this one

His vampiric arrogance over Tav perhaps visible only in the first act. He didn't really care. Tav became his fun, his lust, and his way to survive. Then Tav is the first person to care about him in dozens and dozens of years of slavery. "Blood bags" and such are a bit of dark humour, so it might have been true in another life, but he and Tav are far from it, they're the first person he's cared for in decades of loneliness. His perception of mortality as something that makes a person more vulnerable is his trigger (among others) for turning Tav into a his kind. But since he's not in such a hurry in the end of mortal Tav, I'm guessing: it's his euphoric state after the ritual, where his spire for the castle of vampire happiness is to be with Tav forever. He chillin' about it, afterward. Tav's immortality is a nice thing he'd like, but okay it can wait. So. Tav... they're special. The two of them are special. Astarion elevates Tav and himself above the others. We are Better.

Camp. Vampire ambush.

When the camp is ambushed by spawns. If Tav proposes the idea that the world is actually a wonderful place that can accept him - he argues with them. But approves of all three different reactions. Also then Astarion says the word "forever" in regards to their relationship, to Tav.

This "forever" part is deep in Astarion. According to the artbook (The artbook is EA era, which is still sold with the game though, and the story doesn't contradict anything) So according to the artbook Astarion was obsessed with eternal life, forever youth, forever being. It extends to his feelings - it's needed forever. It's very sensual, but also very greedy and… painfully understandable - it's such a simple feeling to make something nice continue for as long as possible.

If Tav is on the same page as Astarion and tends towards the "only loved ones matter, we're special" mindset. You'd think it was his trick-manipulation to perform a ritual, praise Tav for supporting his idea of supremacism and get what he so reasonably needs. He's certainly glad that Tav has similar ideas to him, and he'll definitely support that. It doesn't depend on his goals still - his "we are better" is very direct and deep in his personality.

Italicized. Here we are. That's one of the key thoughts in his character. That's the focus. This trait is further seen in Astarion as Lord - he says "We", "Ours". The man even says it in Latin. Aeterna amantes.

New in patch 7, takeover of the Absolute:

This part is already moving away from vampirism. This one is very layered. We are because he finally found someone he can trust. We are because we are parts fated to complete each other. We are because he's not alone in the world anymore.

Along with vampirism, his Noble Lord status plays a role here again. We are the mighty, above and we rule.

It's an easy and very simple fit to vampirism - we are better and we are forever.

He's also incredibly proud of himself, that he can give something to Tav, can protect them. He's been under Tav's protection the whole journey. Undead outcaster in Faerun, they regard mortals as cattle, and mortals regard them as monsters. That's why there are monster hunters. Vampire spawn he was allowed to stay in the group and he was dependent, he couldn't be a leader. In the romance he felt he had nothing to give, he was getting Tav into trouble with a powerful true vampire. He was counting the seconds until they finally decided to leave him…

In the romance, vampirism plays into the fact that Astarion is very much immersed in thoughts of eternity together. This emotionally intense and fragile moment: "I don't want to lose anything", comes from the very moment he lost: his status, the sun, his life. Not gonna happen again. Vampirism in the romance have fun one too: -- wealth - these two literally wear the most expensive clothes on the Sword Coast. -- shared powers - he is going to be in charge -- fights and challenge is for Tav- warrior, Astarion likes to spill some blood -- pleasure - of various kinds, from bed to blood.

The end result is an amalgamation of his: -- his personality with, well, a pretty intense dark triad. I would say character image instead of personality. Because the personality is itself. But the character will always submit to the idea - recall that his core is a balance of evil and fun. And evil in DnD is egoism, immorality, narcissism, harming others for fun and personal goals and all that. These dark parts in irl personality can spoil the balance. That's why psychology is for people. Not for characters who will eventually never go against their core. (even if all psychology reference books say otherwise). -- vampirism - the desire for blood and a predatory attitude -- desire for status and power as noble -- force as magic -- forever -- and share it all with love A little bonus at the end. Animation 3 patch. Subtle process.

This scene is much improved in colours in patch 7. But I still like the original faces. He looks so much like a fox >:3

[himejoshiangels]

Duke Thomas fic rec list

I've scowered every tag relating to him, combed thru the 'duke centric tag' at least 8 times, this is what ive come back with, at least my personal faves

necessary reminders - duke pov, outsider pov, and some social media following duke as he gets used to his day job as a vigilante. flows really well, has a good balance of sad and happy, and gets dukes character rlly well

that which you cannot bear - THIS FIC WILL BREAK YYOU duke is kidnapped and its only down from there!! this is like, one of the first duke fics I read and it's still labeled as such in my mind. its well based, sooo cohesive plot wise, and stays completely in character w all its characters, especially duke, while exploring such an interesting facet of him > his tendency to self-isolate, insistence on being independent, and his stubbornness. sooo much good angst just incredible stuff while also staying hopeful and grounded. ALSO duke is an intelligent badass throughout the fic which is an important detail 2 me

signal, n. a divine act - same author as the last one, absolutely insane concepts are explored and its just so well written srsly it's like poetry. digs into some of dukes ideologies so well. if u like holy imagery??? kind of but not rlly?? ig you'll love this

this whole series is just so fucking incredible but something about my bodies made of crushed little stars I don't fucking know it messed w my brain chemistry, I've recced it b 4 bcs it made me cry but read the whole series, it's all duke centric and just so good. Saki writes bruce and duke in a way that fizzes u up w emotion and focuses on such unique facets of dukes character/dynamics and sleep well my little sunshine is soo cute and fun and soft >when earth finds the stars - bonus presignal duke and jason fic, balances being incredibly fun with a realistic zoom in on duke before we are robin. he's quippy and witty and always at the edge of his rope

not mutually exclusive - tired of bruce being kinda shoved into the role of dukes capital F father when that's not quite what their dynamic is? Then this is the fic for you!! Just good duke and Bruce interactions overall, it's sad and hilarious with just incredible dialogue and peak Bruce and Duke interactions

signals and symptoms - a classic sickfic and like one of my fave bruce bonding fic ever ever EVERRR!! really introspective abt dukes character and just so well done

even exchanges - some of u are gonna hate me for reccing an incomplete fic and esp one that doesn't look like it's gonna be finished anytime soon but even exchanges is so formative to my duke characterizationalong with portraying such a fascinating dynamic w him and his new family. it delves into his messy and angsty experiences pre-becoming the signal and is overall written like several subsequent punches to the stomach. promise ur gonna bitch and moan about this fic as much as I do

scientific method - extremely cute fic, watch Duke bond w the bats and slowly get more comfortable with them over time as they all tru to figure out what the fuck this guys powers are. Really fun dynamic wise, the dialogue is crafty and captures the familiarity between the characters. Really realistic about day to day vigilante life and how genius the bats truly are. really slice of life fluffy shit w some bonus sciencey stuff

turn my voice human torch remind people what I’m fantastic for - truly a classic, Duke invites cass to slam poetry night. short n sweet I LOVE BUMBLEBATS RAHHHHHH

tradition - pure duke n bruce ice cream fluff

meal prep - real sad angst one shot ft. alfred

occupational health and safety violations - duke pov reverse robins but it's way out of order

write about flowers (at a time like this) - duke and dick fic where they meet pre we are robin. yes I just found this one yesterday yes I'm absolutely obsessed. it characterizes him so well and understands his thought process and motives and UGHH just tune in yall

sidequest: the viper pit - WE ARE ROBIN DND JUMANJI

signals of fear and hope - duke centric reverse robins, caters TTOME specifically it's so fire

and now here are fics that arent duke centric but he's in it and in character/well written and now forced into the back of the room aka some of my general faves that feature duke

gotham aviary - the batman fic where he just adopts a bunch of em truly adorable like the cutest thing you'll read

I walk the streets at night (with monsters in my mind) - dragon fic, absolutely goated 10/10

fight, flight - cass centric but duke plays a big role, they mean everything to me

[queenshelby]

Daughter Dearest (Part One)

Pairing: Cillian Murphy (47) x Step! Daughter (21)

Warning: Infidelity, Smut, Dysfunctional Family

Home. The word itself tasted like mothballs and childhood memories, both bitter and sweet on your tongue. 

What others would call home, did not feel like home to you at all, not after your mother had destroyed everything that you were familiar with just when you had turned fifteen.

It was then that she had begun an affair with an actor named Cillian Murphy, whom she had met on the set of a movie he was filming and, just as if she had planned it all, she became pregnant with your stepsister Sadie. 

Your mother was 37 at the time, with Cillian having been five years her senior. 

It was all over the papers at the time and, just as you thought that things could not get any worse, she left your father, who was heartbroken and bewildered, and moved in with this then stranger to you.

You and your twin sister, Cliona, were expected to just follow suit, like little lost puppies and whilst Cillian himself seemed like a nice man, it was not something that you were able to do that easily. You had always been strong willed and gave your mother quite the run for her money with your rebellious nature which, in part, was the reason why she had pushed you to go away to live your father in New York.

New York was where you had finished school and, as soon as you turned eighteen, you made your way on a journey around the world. 

You travelled to New Zealand, Africa and then South Amerika too.  There were times when your money ran out but you always managed to get by, taking on odd jobs here and there, just so that you could survive.

It was during your time in Tanzania, when you met a woman, in her forties, who worked in an orphanage with you, and it was her who introduced you to photography. She told you that the camera was woman's truth and that with it, you had the power to tell stories.

She handed you her canvas camera and you began to snap away, discovering facets of Tanzania, its people and its wildlife in ways that words alone could not articulate.

The experience had left an indelible impression on you and from that day onwards, you knew that photography would be the lens through which you viewed the world and translated your experiences.

Your wanderlust had taken you on a three year journey, one that had seen you capture the beauty of the world through photographs. You had even managed to sell some of them to a hip magazine, which showcased your work alongside a spread of your adventures.

The pay was decent, just enough to keep you going and still let you see the world.

College had been an option, but not one you wanted to seriously consider. You had never been one to follow the rules and conventions that came with higher education, and the thought of being stuck in a classroom for four more years seemed unbearably tedious.

But then, after an amazing three years, your travel journey came to an abrupt end when you got into trouble with the law while passing through the UK, on your way back to New York. 

At London Heathrow,  just after taking a flight from Rome, you were stopped by customs for questioning regarding a package that they found in your luggage. It was a small box that just fit snugly within the zippered pocket in your backpack.

Inside the box there were as an illicit substance and it was this substance that got you arrested. 

You were questioned for hours, leaving you dazed, frightened and confused about how the drugs had even gotten into your bag and, after a series of panicked phone calls to your family, your mother agreed to bail you out.

Days later, in court, you were given a short sentence, including a travel ban for three months and house arrest for one.

"I much rather go to jail than live with my mother for four weeks," you thought to yourself, but the sentence had been handed out and, before you knew it, you were taken to where you had once lived, in the outskirts of London. 

Time seemed to slow down the moment you crossed the threshold of that Victorian house, so familiar in every fine detail that it seemed to shrink around you.

The police officer who accompanied you rang the doorbell on your behalf and, after a few moments, your sister Cliona  , whom you hadn't even spoken to in a year, opened the heavy oak door.

Her dark eyes, much like yours, narrowed at the sight of you, before dissolving into a cold, expressionless mask.

"Hi, Cliona," you greeted her, but it was clear that she wasn't interested in talking.

Her thin lips barely moved as she spoke. "Mum isn't home, but come on in," she simply said to the officer rather than you. 

Cliona's dismissive attitude was nothing new to you, but it still hurt.

You had once been close, like two peas in a pod, but she had changed somewhere along the way. Growing up, you had always been the rebel, the one who pushed boundaries and questioned authority, while she was the obedient one, always trying to please your mother.

Over the years, that gap had only widened, until it seemed like you were living on opposite ends of a vast, unbridgeable chasm.

With a resigned sigh, you stepped into the hallway which is when you saw him, for the first time in 18 months.  It was Cillian, emerging from one of the rooms at the far end of the hallway, with your little half sister Sadie clinging to his side, her tiny fingers wrapped around one of his fingers.

As soon as Sadie saw you, she ran towards you , squealing with excitement, and you couldn't help but smile at the sincerity in her voice as she called out your name.

"Y/N! Y/N!" she exclaimed, throwing her arms around your waist. Her laughter echoed through the expansive hallway as you stooped down to pick her up, your heart feeling warmer and softer than it had in months.

You had always kept in touch with her, and even visited her on numerous occasions, putting up with your mother for short periods of times for Sadie's sake, mostly while Cillian had been away filming.

He was a busy man and your interactions with him to date were limited.  Cillian took a step towards you, his warm smile radiating kindness.

"Welcome home, I suppose," he said with a slight chuckle, his rich voice resonating through the room. You couldn't help but blush as he looked directly into your eyes, the corners of his eyes crinkling in genuine delight at seeing you. It was a small but friendly gesture that made you feel a little better about this somewhat unfortunate situation. 

"Thanks," you mumbled, not quite sure what to say in response. You had imagined seeing him again, but there was something utterly different about him now, something that you had not noticed when you saw him last, about eighteen months ago, at your aunt's wedding. 

He had grown a little older, his hair was peppered with more silver strands, giving him an air of maturity, though his eyes seemed the same vibrant shade of blue that they had been before, sparkling with intelligence and a hint of mischief.

While you were spending some time with your little stepsister, the police officer pulled out some paperwork and what looked like an ankle monitor , informing you that this would now be a part of your daily life since it was ordered by the court for the next one month.

You couldn't help but wince at the sight of the device. It felt like an electronic handcuff latched on, but you didn't complain, knowing that it could have been much worse.

"So, I guess it's a house arrest for you now," Cliona said with a roll of her eyes, "good luck with that." 

"It's only for thirty days," the officer  interjected, clearly trying to soften the blow of the situation, "and if you follow the rules and stay out of trouble, you'll be free to go where you want after that, at least within the UK."

You couldn't help but feel a wry smile creeping up on your face, thinking about all the things you would be able to do once this house arrest was lifted.

But for now, you had to follow the rules and make the best of a less than ideal situation.

"Mr Murphy, are you happy to sign for this?"  the officer asked Cillian, handing him the paperwork related to your bail conditions. Cillian looked down at the documents, his brow furrowing slightly as he read over the terms. 

"Sure," he then said, signing his name with a flourish before looking at the monitor with disdain while the officer turned it on, causing it to light up around your ankle.

"What a strange contraption," he muttered under his breath, shaking his head as he handed it back to the officer who was quick to leave shortly after that.

"I should probably find my room and get unpacked before mum gets home. I know how much she hates mess," you said as soon as the officer drove off and Cillian nodded  in agreement.

"Of course, you can use your old room, it hasn't changed much," he said before picking up your large backpack and guiding you upstairs.

"You know I could have carried this, right?" you  remarked to Cillian as you watched him struggle with your backpack, his face turning slightly red with the strain.

He chuckled good-naturedly. "I know, but it's no trouble, really," he said as he adjusted the weight of the bag on his shoulder.

You nodded silently, following him as he took you to your old room, which was still located at the far end of the hallway, as it had been before.

He opened the door for you, stepping aside so you could enter first.

As you stepped over the threshold, your senses were immediately bombarded by a whirlwind of emotions – nostalgia, bitterness, and a strange undercurrent of longing.

You had spent countless nights in that room, sitting by the window, watching the stars through the cold glass, dreaming of the day when you could escape the confines of that house after finding out that your mother wanted a divorce. But then again. you were older now and none of this mattered anymore. Now, it was somewhere to sleep for the next thirty days, and, after that, you knew that you would be evaluating your options.  You left your camera bag by the door but the moment you turned around you caught Cillian's gaze, and you could have sworn that there was something tender hidden deep within the blue recesses of his eyes, like a secret too precious to be shared with the world.

"I'm glad to see that it's still the same," you muttered to yourself, as you placed your other smaller bag onto the bed. 

Cillian chuckled lightly, reminding you that he was still standing there, a few feet behind you.

"I'll let you get settled in now," he said with a warm smile. "Dinner is at seven, if you want to join us. Your mother should be home by six," Cillian added, before walking out of the room, leaving you to your own devices.

"Thank you Cillian," you called after him, letting the moment linger for a second, as a chance to catch your breathe and let your thoughts reel.

The air in the room felt heavy, the scent of old books and dust hung thick against it, like an unwelcome fog. The room was exactly how you remembered it, every piece of furniture, every painting on the walls. It was like going back in time.

"Fuck," you  muttered under your breath, as you pulled back the window curtains, revealing the oak tree that stood tall and strong outside. The view had not changed one bit and this realization was as oddly comforting as it was heartbreaking.

You ran your hand over the windowsill, recalling how you used to sit there for hours on end just watching the world go by in this quaint little town on the outskirts of London. It triggered memories of when you had first noticed your mother changing, and her new job on the set of Peaky Blinders getting the better of her. 

She was one of the production managers, young and enthusiastic, and of course, this is where she met Cillian.

It all went downhill from there, and as they got more and more involved, her behavior changed. 

But you never thought to blame him for the failure of your parents' marriage. Their marriage was doomed for years before and yet, the way she put an end to it, by starting an affair with another man, was what really irked you.

Pushing aside these thoughts of the past, you forced yourself to focus on the present and this presence included staying here, with your part of your broken family, for the next thirty days and you knew that this was going to be tough. 

And tough it was when, over dinner later that day, your mother criticized your life choices.

"You know that none of this would have happened if you had decided to live a normal life," she charged at you between bites of roast chicken and boiled potatoes. "Finishing college, finding a real job, staying out of trouble...," she continued on, and her voice was sharp and condescending.

How many times had you heard her repeat the same things, trying to mold you in her image, trying to give you the role that she had always wanted for herself? You swallowed hard, keeping your composure even as the anger boiled inside you.

"Photography is not a career. It's an art and art doesn't pay the bills," your mother added with disdain. 

"Well, art sure pays your bills, because you did not work for years and still have a roof over your head because your husband clearly earns enough money acting," you replied calmly, taking a sip of your water. You glanced at Cillian, who was sitting quietly, seemingly lost in thought. Sadie, however, was busy coloring with crayons, oblivious to the tension around her.

"That's different," your mother retorted, frowning at you. "Cillian is smart about his work while you, on the other hand, are reckless," she continued on, causing Cillian to sigh heavily. 

 "Marion, enough," he simply said, shaking his head probably taking pity in you and your current situation. "Can't we just enjoy our meal together as a family?" he then asked, and your mother huffed but said nothing more.

The rest of the meal passed in silence, with only Sadie occasionally breaking the awkward atmosphere with her chatter.

After dinner, you offered to help Cillian with the dishes, stacking the rinsed off plates 

by the sink while he loaded them into the dishwasher. As he worked, you couldn't help but notice the way his sleeves were rolled up his arms and his hands moved with ease, his fingers deftly maneuvering the utensils as he placed them in their designated spots in the dishwasher.  He had incredible hands, almost perfect, and whilst this was a small thing, it was also oddly intimate, and you felt the heat creeping up to your cheeks as you watched him.

You shook your head slightly, mentally chastising yourself for reacting in such a way.

Cillian was your stepfather, nothing more, and yet there was no denying the way your heart skipped a beat when his hand brushed against yours as you both reached for the same dish.

He smiled at you as he caught you looking, and your face flushed with heat.

"Thanks for helping me with these," Cillian then said as he closed the dishwasher with a soft click. He wiped his hands on a nearby towel and turned to face you, his eyes finding yours. "And, you know, I'm sorry about the whole house arrest thing. If there's anything I can do to make it easier for you, just let me know."

His words caught you off guard. It had been a long time since anyone had extended their help to you without expecting something in return. You hesitated for a moment, unsure of what to say. "Thank you," you finally managed to say. "But it's fine," you nodded. "Thank you for letting me stay here,"  you added astutely, trying to put a positive spin on the situation.

Cillian gave a slight smile, "Of course," he then said before

turning to walk back towards the living room. "I better go keep your mother company," he said, pausing for a moment before adding, "And, I meant what I just said about the house arrest, if there's anything you need, don't hesitate to ask me."

Left alone in the kitchen, you couldn't help but replay that moment over and over again in your mind. You tried to shake it off as just a kind gesture and not something more, but something about the way he looked at you left you questioning yourself, leaving a strange flutter in your chest.

Shaking of these thoughts, you went to your room in order to find something to read or maybe even draw. But of course, your mother had got rid of most of your art supplies when you moved out, claiming that it was all just a waste of money.

Thus, after you got changed into a singlet and some PJ shorts, you made your way back downstairs, recalling a few large shelves stacked with books in the study, which was locate right next to the living room.

Cillian was still sitting with your mother on a comfortable couch but, much to your surprise, there was a large gap between them. He was reading a book while she watched some reality TV show with her uncritical gaze.

When you entered the room, Cillian looked up from his book and his eyes were immediately drawn to you, taking in your form, even though there was nothing particularly sexy about what you were wearing.

He felt the heat grow in his chest, dimming his thoughts and distracting him from the lines of text that he had been attempting to read which, to him, was a strange sensation and not one he had expected. 

Thinking that you had gone unnoticed, you walked into the study and towards one of the large bookshelves before flicking through the spines of the countless novels stacked up haphazardly along the rows.

But then, suddenly, you heard a familiar voice from behind you.

"Can't find anything interesting?" Cillian asked, making you jump and drop the book you had been holding in your hands and, almost simultaneously, you dropped to your knees to pick it up, your heads bumping into each other. 

"Oh, I'm so sorry!" you exclaimed, your hands flying up to your forehead instinctively as you tried to steady the pounding that had started there.

"No, it's my fault," Cillian apologized, his voice close behind you and he put his hand on your shoulder, causing tingles to run down your spine. "Are you okay?"

"Yeah, I'm fine," you said as you turned and looked up at him, your eyes meeting briefly.

"I was trying to find a novel and, god, there are so many to choose from in here," you added, gesturing towards the towering bookshelf that seemed to stretch up towards the high ceiling.

Cillian chuckled, "Well, I do read a lot, but don't worry, I can give you a few recommendations if you want them," he said, a playful twinkle in his eye.

"I would love some recommendations, actually," you said, your face lighting up. "Something about, I don't know, human nature I suppose. I love reading stories about conflicted individuals or history," you said, with a light shrug of your shoulders.

Cillian smiled at your answer, "Did you read the Grass Arena?" he asked, his voice full of curiosity.

You nodded, "Yes, I did. The story was dark but tantalizing," you mentioned, leaving Cillian a little surprised.  "I think it's really good book," you smiled, causing Cillian to furrow his eyebrows.

 "A really good book huh?" he echoed, a gentle laugh escaping his lips. "It's one of the best, I think. John Healy's work should be regarded as an invaluable contribution to literature," he declared, and you couldn't help but smile at his enthusiasm, momentarily getting lost in his bright blue eyes.

"Okay, I agree. It's probably in my top ten," you whispered, before shaking yourself out of your trance-like state, adding, "So, any other recommendations then?"

Cillian nodded, his eyes lighting up with excitement as he guided you towards a different bookshelf.

"I think you might like this one," he said as he pulled out a tattered copy of 'On the Road' by Jack Kerouac, the pages yellowed with age. "I know it's a classic, but it's always a good read and you love travelling, so if you haven't read it yet, you should," he added, his voice full of warmth.

You took the book from him gratefully while inadvertently brushing against his hand. Your palms grew warm and tingly, causing you to look up at him with wide eyes. Cillian's eyes locked with yours and there was a charge between you, a current thrumming beneath the surface that tickled your skin.

"Uhm, thank you ," you mumbled, sliding the book from his grip and stepping back. He nodded, seeming to understand the sudden need for space.

"Sure thing," he said, before turning to head back to the living room. "Goodnight, Y/N," he told you and you nodded, taking a deep breath to calm your racing heart before tucking the book under your arm and heading to your bedroom.

Tags:

@sunbeamseas @saint-ackerman @oatmealisweird @naxxsstuff @amanda08319 @r-m-cidnah @elysiannook @cillshot @infireddabdab @tastycakee @harrysbestiee @lilybabe22 @adalynlowell @henrywintersdearestgirl @ietss @thatgirlthatreadswattpad @ryiamarie @axionn

@nela-cutie @futurecorps3 @delishen @nosebleeds-247 @thirteenis-myluckynumber @gills-lounge @hjmalmed @lost-fantasy @tiredkitten @sidechrisporn @smallsoulunknown @charqing-qing @hopefulinlove @aporiasposts @shycrybaby @me-and-your-husband @hjmalmed @lacontroller1991 @galxydefender @aporiasposts

@galxydefender @hunnibearrr @saint-ackerman @lunyyx @gentlemonsterjennie1 @ihavealotoffandomssorry @nadloves @lost-fantasy @nolucesn@mcavoy-girl @hjmalmed @bloodybagels @obeyme4life @richiesgroupie @blushykiss @tatumrileyslover @teawithsatanx @orijanko @rhaenyra4ever @xcinnamonmalfoyx @budugu @nadloves @kmc1989 @bloodybagels @obeyme4life @richiesgroupie @forgottenpeakywriter @smailaway @sophiaagcill\\\uirred @blondie-22

[art-of-the-sea]

Cookie Run: Facets of Knowledge AU

[pt: Cookie Run: Facets of Knowledge AU]

" The Virtue of Knowledge holds two sides to it; Truth and Deceit. Only together can they truly understand its depths. "

Not so much a complete AU as a likely canon divergence, this 'verse is set after Dark Enchantress's defeat. Her attempt to free the Beasts from their eternal prison by creating new bodies for them ended catastrophically. The only way to keep them all at bay was to seal them within the Soul Jams carried by each of the Ancients, as well as within their own bodies. This came with its benefits and drawbacks- after all, the threat has been tamed for as long as the Ancients remain uncorrupted. Not only that, but the reuniting of the Soul Jams' other halves magnified the Ancients' power beyond imagining- as its main holders, it's all in their control now, out of reach of the Beasts.

The complications, of course, come with the continued presence of the Beasts within the Ancients. They may not have any powers, no, but they can certainly be heard by the Ancients they've been sealed within - even seen as a projection of the Soul Jam's magic. Pure Vanilla Cookie knows he's in no danger from Shadow Milk Cookie as long as he doesn't mentally give in to his lies. However, that doesn't stop the comments, the perspectives, or the presence he brings. Sealed together, they have to learn to understand each other deeper than either expected, and slowly, each begin to open their eyes to the other's views and experiences.

More details & doodles below the cut! ⤵️

- Shadow Milk Cookie can project himself outwardly into the world using the Light of Truth, but in almost all cases, the only one that can see, hear, or feel him is Pure Vanilla Cookie. This leads to quite a few reactions to seemingly "nothing" from the outside, which took a long while for the other cookies around him to get used to.

- Shadow Milk gets bored very often due to not having a physical body or the ability to interact with most cookies, so he often resorts to pestering Pure Vanilla in one way or another. PV found that ignoring him only makes it worse, so he'll often engage in giving hypothetical answers to SM's ridiculous lines of questioning. This tends to result in either an absurdly niche philosophy discussion or a yes-and fantasy lasting on-and-off for days.

- Distrust is rampant between the two, of course, which is beneficial for neither of them. Pure Vanilla is convinced Shadow Milk wants nothing but to control Earthbread once more, and SM thinks PV wants nothing more than to lock him away somewhere dark and eternal. Both are partially right, but they are forced to learn the depths of the others' perspective and understand how their defining traits are reflections of each other, stemming from the same place.

- Because of this, they slowly begin to understand each other. To trust each other. To let down the walls, because really... Who else would ever be able to comprehend them like the other?

- Pure Vanilla still refuses to trust him enough to let Shadow Milk take control of the body, though. After all, control of the body would hypothetically mean control of the Soul Jam, and he can't let himself risk the fate of Earthbread once more. Sure doesn't stop SM from pestering, begging, bargaining, and more to try!

- Arguments are surprisingly rare, because if both of them get too deep into their heated debate, they get uncomfortably close to the reality of how similar they are to each other; this tends to make them back off.

- Both of them also feel this discomfort when the other is genuinely feeling mentally unwell, as viewing the other's complexity reflects on their own they wish to conceal. This can result in an awkward attempt to cheer the other up or help the situation, if nothing else to simply remove the shared disconcertion.

(If anybody's honestly interested in learning details for this AU, send in an ask! I might even draw doodles for the replies. this au is also where this sorta popular doodle comes from)

Bonus:

me too gingerbrave

[austinsastrology8991]

> 8th House LAWD in the HOUZEs <

8th house is the darkness - what you aware is bad but dont like to think about> which is why you tend to repress it - or are incredibly honest about. I view it as like voldemort zappin harry - you were cursed, but now u got powerz

8th house lord in the 1st - the darkness is splattered on yo face. you are a mysterious, and intriguing person; and this feels like a burden to you > because people be looking at you as if you escaped from a failed lab experiment. this is > 6 < houses away from the 8th so the 'darkness' feels like work for you > because people looking at you like a criminal, so you have to be careful not to act like one > but you always actin a lil sly, because you see the dark as a necessary evil, and its apart of your everyday affairs 8th house lord in the 2nd - the darkness is apart of your assets. you utilize your pain and transformations to help you grow > and utilize it by helping others > 7 < houses away - through helping others deal with their dark facets; you can churn it out of them and help them turn it into their ultimate advantage (and your own) by making others your little sock profits. your self esteem however is under pressure to to be of someone of value to others

8th house lord in the 3rd - the darkness is on the tip of yo tongue and you got dirt all under yo finger nails. You have a penetrating mind and you can't help but obsess over anything that enters yo mind. this is > 8 <lt;; houses away - which makes your privacy > very private > you know to keep your thoughts to yoself because you think of the most fucked up shit, and you know if you speak on it you getting cancelled. your a mouse just avoiding the mouse traps that you set up for yourself through the cascades of your own mind. and the mouse traps that others attempt to create for you > are the easier ones to dodge > because you da master at the mouse trap 8th house lord in the 4th - The darkness is never forgotten - you were basically born in a cavern; where you had to raise yourself - but since its > 9 < houses away - this has taught you much and well about the dark, and you low key know how to dodge bullets because you were born in da matrix. this does make you a secretive person though; because you know the secret powers of da dark - and want to be decisive who you teach it too

8th house lord in the 5th - the darkness is where you shine - you are taboo, and the idealization of the dark was formed by your presence alone, because you expose it by falling into it on purpose its > 10 < houses away - you are notorious for this; which means you mastering the dark, and your whole life force (5th) has been dedicated to the darkness > its like you self-sabotage to practise mastering your pain > and now you have real authoritative power due to your notoriety of walking out da dark unfazed 8th house lord in the 6th - the dark sorcerer - you deal with the dark all da time, and since reality so heavy on you, you know how to manifest incredibly well, since you had to in order to survive. > 11 < houses away. you have a probing interest within your community/friends and its probably due to your ability to figure out problems so well; but since you see how it is, this can cause serious issues in fitting in with your community, due to your ability to manipulate reality

8th house lord in the 7th - the dark you know - somehow your partners / the people you meet are dark, and you don't really view yourself as dark; more those around you > 12 < houses away, means that the dark is surrounding you, and it is a necessary lesson to learn how to manifest what you want and stop believing that after being a good person,; good will find you > you must learn to identify what a monster is, to know how to avoid sticky situations

8th house lord in the 8th - The dark is dark - the darkness within you is a grim tale, and you may feel it follows you > 1 < houses away, this darkness is written on your body language > we can see how much pain has plagued you, but we also notice how strong you are to have survived it. if anything you must realize most people could never operate normally after having been traumatized the way you have > and so power falls onto you in many ways... you just need to be bold enough to see it

8th house lord in the 9th - the dark transformed you from a maggot to a moth (not a fly so technically a compliment) - the dark should have been nicer to you than most, but you still would have had something extreme happen to you, and this likely affected your mindset more than anything; but its a sinister killer > 2 < houses away - means it will grow in time > you may grow into power but as you grow; you'll notice the burden/toll/grip it has on you. you will surely reap the benefits, but you will pay the price 8th house lord in the 10th - the dark throne in da big scary castle - your reputation should be dark, and you are vocal about it > 3 < houses away. you are fearless about the dark, even though out of all people, your someone who should be afraid of the dark > and this only exacerbates the fear others have of you > because your bold in what you say, and what you do. but be careful with what you say because it can and will affect your public image greatly > and how well you succeed in venturing through the darkness will be talked about

8th house lord in the 11th - the dark ritual - you are affiliated with dark places/people and you are almost forced to conquer the dark > 4 < houses away. your dark past follows you; so you affiliate yourself with dark people > to be able to feel like you overcame the dark that consumed you as a child. This trauma however, should be utilized to your advantage, because since you have been rejected a lot by others, it should have built yourself some strong armour; where you navigate the world with strong defences > people should trust you faster; especially with power

8th house lord in the 12th - the dark hidden behind you and within - you are surrounded by the dark all the time and this makes you pretend like it isn't dark far more often than what is appropriate > your likely conditioned this way, but since its > 5 <; houses away, your intense creativity and self expression/ self sabotage, can later help you identify the dark faster than most, because your intuition has been molded by dark trials, and this can make you a beacon of hope for people experiencing dark times

Shout out to @Linnienin for the edit <3

[heavycreamy]

Hey Matt Gazy

This post is for Australian Journalist Matt Gazy.

Apparently you've been contacting members of our feedism/erotic weight gain community in order to discuss our very multifaceted, heavily misrepresented lifestyle.

As someone who has been in this community for 3 decades, has seen most if not all of its forms, understands the ethical connections between Feedism and Fat Liberation, and deeply cares about how folks in our community are represented to the general vanilla public, I hope that you are entering into this project/article/episode with the necessary due respect, empathy, intelligence, and kindness that you would bring to ANY oft-misunderstood and ridiculed subculture.

No one needs another sensationalist piece of journalism wilfully and lazily misrepresentating our community, sexuality, and lifestyle, which only EVER serves to further stigmatise and shame us.

We have been taken advantage of on many occasions, cast as freaks and pathetic fools with mental problems, so neither we nor the general public need more of that.

EVERY time a piece about feedism appears in the public eye, our community experiences a massive wave of trolls and judgemental, deeply fatphobic tourists coming into our online spaces and abusing us.

Please don't debase us nor yourself by making a surface level hit-piece on our community, whether intentionally or unintentionally, due to a lack of thorough research and basic respect for perspectives and life experiences outside the norm.

Feedism is INFINITELY more than simply heteronormative power play. That corner of the community represents less than 10% of what actual contemporary Feedism culture is, and ironically harbours 90% of the toxicity present in the entire culture.

Feedism is so much more than heteronormative, coercive power play. It is extremely queer, extremely feminist, extremely sensual and emotional, and is a major facet of many people's lives and psychologies.

While it may seem like simply a niche genre of porn to the casual tourist, Feedism exists outside of porn. It exists outside of kink. It exists outside of fetish. It can and should be considered an orientation, rather than simply a freaky outlier bedroom interest worthy only of reactive disgust.

Please don't be yet another unscrupulous journalist exploiting our incredibly vulnerable community for shock bait bullshit.

If you're going to try to represent us, do it comprehensively, and do it PROPERLY.

Truly speak to us. Do the work. Don't just find an extremely popular female model and falsely imagine that her experience is a stand in for ALL Feedist experiences.

If you truly want to represent Feedism, you NEED to represent it as the complex, multifaceted diaspora that it is, full of people of all kinds, all cultures, and ALL SIZES.

Should you be committed to pursuing this topic, I can offer links and connections to extremely well informed writers, thinkers, professors, and others within this community who are doing INCREDIBLE work on understanding, exploring, and expressing the deeper truths of this desire and lifestyle. There are people doing the work. You need to do it too.

We're humans. Treat us with respect, dignity, and kind curiosity.

Be better than every journalist who has come before you.

Thank you.

ps. Dear feedist pals, if you feel that what I've said here resonates with you, and mirrors your feelings at all, please feel free to reblog the shit out of this in the hopes that more visibility may help it reach its intended audience. Thanks gang ♥️🍰🍕

[corvus-frugilegus]

Spite Meta! Riffing a bit on a solid post from @antivancathedral and some thoughts i've been stewing on about spirits and demons for a hot minute here.

I've been chewing on this line from Morrigan towards the end of regrets of the dread wolf for a while now:

"But like any spirit when ANGERED or twisted against her purpose, a more violent aspect arose." (emphasis on angered mine)

This is the line for me that really cinches the idea that Spite isn't a demon. And reinforces that spirit-demon seems like it's maybe a false dichotomy. Sure some spirits get stuck at an extreme, but vascilation along a scale of emotion feels normal right? Like Wisdom and Pride can't strictly exist in isolation they go hand in hand and aren't necessarily always in conflict either. So while spirits in the Dragon Age universe tend to focus on a single facet of human emotion it's also true that they're a reflection of the mortal world and we know that spirits struggle with the idea of the world as a static entity- So why would their very natures be fixed?

There are a few things that support this fluidity to the nature of spirits that we see throughout the series.

Mythal and Solas both in some ways vascilate between their two aspects. We see in conversation with the fragment of Mythal that she manages to hold the duality of both benevolence and retribution. Even as a fragment she carries both. We see this in Solas too, he's wisdom twisted by pride but even as he misses the big picture on things he's close to it's true he simultaneously shows wisdom in how he speaks and acts and the thoughts he shares. This is perhaps more good natured in inquisition, especially so in a Lavellan romance, but even in veilguard his cunning and trickery relies on wisdom too- he knows when to be subtle and when to push. He too is simultaneously embodying both ends of a spectrum.

So coming back to the Morrigan quote above: Angered is a really key word here. It's easy to focus on twisted beyond their purpose, and I think that's what we see most often in the series. The back against the wall possession of mages and this extreme depth of feeling / extremity of circumstance that forces a spirit to stay within a more violent aspect of its nature. It's also true that most of the examples of possession we see and the way demons are framed earlier in the series is that malicious spirits are always lying in wait to take hold of the mortals to exit the fade (in light of the elf knowledge this feels much sadder actually, especially given the camaraderie we see between spite and manfred). This is largely the Chantry line. The examples of "good" natured spirits and spirit possession we do have feel much closer to the version of Spite we see in veilguard (if less inclined towards stabbing- arguably this is the influence of Lucanis).

So angered is what I keep coming back to with Spite. Is Spite a permanent state of being- the totality of Spite's being? Or has both Spite and Lucanis's experiences pushed Spite into fight or flight. (let's be real it's fight Spite loves a knife). This really tracks with Spite's role in the narrative too- Spite is an allegory for Lucanis's trauma, and like all spirits a reflection of the world, in this particular case Lucanis's mental state.

Anger is a protective emotion. Anger is something we tend to feel in repsonse to a violation or an injustice. Both Lucanis and Spite have SO MUCH TO BE ANGRY ABOUT. It's through the violation and injustice Spite and Lucanis have experienced that Spite's nature has shifted in the way it has. Spite is the determination to survive. Spite is what carries both of them through the Ossuary. Spite is what keeps them "safe" (heavy on the quotation marks here) when Zara and her lackeys are doing everything in their power to break them. Spite is Lucanis trying to protect himself. Spite is this spirit of Determination trying to protect itself.

At Spite's core the facet of the human experience it reflects is Determination. Anger pushes it to something more intense, but Spite has never actually shifted away from its original purpose. And, in a route where Rook completes Inner Demons, as Lucanis heals and begins finding peace, It feels like Spite does too. Given time I suspect Spite will find its way back to determination.

This is probably a whole separate post and deep dive but Spite's role as an allegory for Lucanis's trauma is really important here too. Lucanis has lived through so much and kept going anways, even before the Ossuary. He carries all of these deep wounds and bottles up his emotions so tightly, and I suspect there is so much anger in him deep down from all the hurt and abuse he's endured. Knowing Lucanis it's probably anger he's afraid of. And Spite reflects these feelings too (here as a narrative device more than in a literal sense), Spite reflects the things inside Lucanis that he tries his best to avoid acknowledging. Spite forces him to confront this, forces him to confront the Dellamorte family dynamics. And again, as Lucanis starts to heal and move forward, we see a shift in his relationship with Spite too- because what's also happening is a shift in his relationship with himself. He's accepting the ugly parts of himself and starting to address his problems. As as result Spite itself seems calmer and more agreeable.

Spite was never a demon, Spite is Lucanis protecting himself and we only think of Spite as a demon because Lucanis does. Because that's how Lucanis sees himself.

Spite is a benevolent spirit simply responding to its environment.

There's so much more to this too! Spite's nature is so interesting and there's so much in the lore that I think really solidly supports that 1. Spirits and demons aren't that cut and dry and 2. Spite falls more into a benevolant nature than a malicious one.

[adinfernumadinfinitum]

Welcome to my silly little fan theory @emmg:

How Raphael is the ‘Mastermind’ behind the plot of Baldur’s Gate 3…

…or how I give him more importance than I should.

DISCLAIMER:

In this ‘dissertation,’ I present my take on things based on Dungeons and Dragons 5e lore from the Forgotten Realms universe, along with fandom theories and headcanons where they suit me. This is NOT an in-depth analysis of anything, so I won’t be reciting specific quotes, etc.

I repeat, this is just MY take on things. If a similar theory already exists, feel free to reach out, and I’ll gladly tag the material!

Oh, and there are a lot of spoilers about, well, everything, so read at your own risk ⚠️

I thank the lovely @bitethedevil for allowing me to tag their posts, making it easier on me so I don’t have to write everything out! I also want to take this moment to appreciate their work and contributions to this fandom! ☺️

Introduction

Baldur’s Gate 3 is a brilliant, complex, multi-layered game filled with multiple villains, heroic figures, and a plot that weaves players in seamlessly. That’s why we love this game—at least, that’s why I do—the gripping storyline and its faceted characters.

The game is set in the Forgotten Realms with DnD lore and rules, while still adding and maintaining its own unique features and twists.

But what if we entirely take a look at it from DnD lore perspective?

Section 1: Raphael as the core character in Baldur’s Gate 3

Fans of the Emperor might argue with me here, but oh man, have you seen how many pies Raphael has his fingers in?

This narcissistic little shit of a cambion plotted his grand design to take the Crown of Karsus for over 2,000 years, planning everything with terrifying precision and putting in a staggering amount of effort—all to manipulate Tav or Durge into giving him the crown.

To understand just how far back his scheming goes, we have to start with the fall of Netheril. As Raphael himself tells us, this is where it all began, and when his father seized the crown, it became impossible for Raphael to obtain it himself.

Baator—the Nine Layers of Hell—has its own system and rules. The plane is aligned as lawful evil, and by its laws, anyone who breaks them is punished; in other words, theft is a crime (don’t try this at home edition).

Am I going to explain the system and rules of the Nine Hells? Hell no, or I’ll be sitting here until next Halloween. Sorry, maybe in a separate post sometime (or not) 😭

So Raphael had to get creative if he wanted to get his greedy claws on the crown.

You can read about how much Raphael’s involvement is actually found in the game Baldur’s Gate 3 here.

What’s relevant for this ‘dissertation’ are the following points, which all show how he orchestrates the plot:

1. Raphael, Vlaakith, and the Astral Prism —

Raphael even plots to capture Orpheus. Not personally, of course, but with the knowledge that it could benefit him and would even serve its purpose in the future. This is a crucial detail.

However, I don’t believe Raphael would craft or have someone craft an item like the Astral Prism, as well as the bindings of Orpheus (the mask, chains, and binding crystals) and the Orphic Hammer. It’s more likely these objects already existed in the Hells, with Raphael profiting by dealing with them.

Sadly there is no official information on that, I really find that interesting.

As for why the Orphic Hammer is called Orphic Hammer - why is Orpheus called Orpheus? He’s a liberator for his people, having inherited the power of Mother Gith, who freed the Gith from mind flayer enslavement. The character of Orpheus draws heavily from Orpheus in Greek mythology, a symbol of liberation, love, and the attempt to rescue a soul from the bonds of death. The term “Orphic” reflects this sense of breaking free from constraints or seeking transformation (of course, it has other meanings, too, but this one feels like what the developers were aiming for).

So the hammer’s name has both symbolic depth and a bit of pun, as it’s intended to free the character Orpheus from his chains.

ANYWAY

2. Raphael, Moonrise Towers, and the Gauntlet of Shar —

The amount of interwoven contracts Raphael has made in the Shadow Cursed Lands is suspicious, and each and every one of them is too , an important point.

Isn’t it just a bit too convenient that Ketheric’s misery plays right into Raphael’s hands? The Shadow-Cursed Lands—Reithwin, once ruled by Ketheric, formerly full of Selunite worshippers but ruined by schemes of the Dark Lady who turned a grieving worshipper of her sister into a Shar follower and leader of an army of Dark Justiciars—is a whole breeding ground for contracts and a stage for Raphael’s play.

Hold on, I’m not implying that I believe Raphael had a hand in Shar’s mischief here, but I do think Raphael handpicked Ketheric, a grieving and obsessed madman (a truly tragic character, honestly), to be an unwitting pawn in his schemes, without directly involving himself. To do this, he contracted with desperate beings like the Architect, Yurgir, and the last Dark Justiciar.

To understand why Raphael would even need Ketheric, we have to look a step further.

3. Raphael and my beloved raccoon boy, Gortash —

Raphael buying Gortash from his parents was a calculated move and the final piece in the Netherbrain plot scheme.

I believe Raphael specifically chose Enver Gortash, a boy with potential, for his plans to get the Crown of Karsus.

Look, Gortash is anything but dumb; in fact, he’s the exact opposite. He learned the ropes in Hell, literally imprisoned in Raphael’s House of Hope. All jokes aside about pot-scrubbing duty and overhearing Raphael and Haarlep getting it on, Gortash is a quick learner.

Raphael just had to watch as Gortash escaped the House of Hope with vital information about the crown. With this, Raphael set up an ambitious, cunning man with the drive to steal the crown.

And this is where Ketheric returns to the picture. Ketheric, the chosen of Myrkul; Gortash, the chosen of Bane; and Durge, the chosen of Bhaal.

As for how Raphael might have gotten his hands on Durge? I’ll leave that as the theory’s plot hole.

I could fill it with headcanons—like Gortash and Durge knowing each other even before Gortash was sold—but that feels a bit far-fetched.

Actually, all of this is a bit far-fetched, but hey, it’s my silly little theory.

But hey again, we’re slowly coming to a conclusion how Raphael is the mastermind behind BG3, do you see my vision?

All Raphael needed was patience. The chosen ones, Gortash and Durge, set the stage by planning the Netherbrain coup and, in stealing the crown, executed Raphael’s plan. All they needed was the third chosen, Ketheric, to carry out the rest of the plot: building the Absolute’s army, etc., the rest we know...

So, what was left? Just someone desperate enough to make a deal with Raphael and actually hand over the Crown of Karsus. And how would he pull that off?

✨The Tadpole Gang✨

Every single one of them fits the bill. Especially if the player chooses Durge.

The next question is: how could he manipulate the group if they were under the Absolute’s influence? Well, that’s where the Emperor comes onto the stage.

Because, hear me out one more time: isn’t it convenient that the Emperor, of all people, finds the Astral Prism? A figure obsessed with freedom and manipulation, ambitious and clever, who would serve perfectly as a kind of protection shield from the Elder Brain’s influence for the gang? And to that even a disposable figure as it is a mind flayer who would not be trusted in the end.

(Naturally, in the game the player is the ultimate executional force, making any kind of higher plan or scheme either perfect or useless)

Nevertheless, this is as far as I will dive into this specific pond.

I just think it adds up nicely.

But Björni, if you have a Section 1, what about a Section 2? you might ask. Well, here it comes…

… how this ‘dissertation’ is actually about Mephistopheles being the ‘Mastermind’ behind the plot of Baldur’s Gate 3.

Section 2: Raphael as the Scapegoat

DnD’s lore about fiends—and, specifically, cambions—teaches us that they’re doomed to fail from birth. While they may think they’re in control of their schemes, they’re actually playing into the hands of their fiendish parent.

Ever wondered why Mephistopheles would even bother devouring Raphael if we defeat him? Sure, cambion sons are nourishing (yum yum), but given Mephistopheles’ personality, I’d guess he does it to humiliate his son, even in death, for being a failure—a failure to retrieve the crown for his father.

But wait, Mephistopheles already had the crown—why would he bother plotting all of this just to get it back? Isn’t that a bit over-the-top, Björni?

Bear with me: it’s not officially written anywhere, but it’s more or less canon based on what we know of the Archdevils Asmodeus and Mephistopheles.

Asmodeus rules the Hells, while Mephistopheles, as the Archduke of the 8th layer, Cania, is arguably the second most powerful being in Baator. Mephistopheles has never stopped dreaming of overthrowing Asmodeus, even after repeatedly failing miserably. But if he openly tried to use the crown against Asmodeus, it would be a direct affront, and Asmodeus would have shut it down from the start.

Mephistopheles has other children besides Raphael, and Raphael isn’t exactly useless, he’s actually the complete opposite. Strategically, it wouldn’t make sense to discard such a puppet (call him son)—unless Raphael had done something atrocious. And for someone as mighty as Mephistopheles, controlling his little cambion son would be child’s play. So, then why does Raphael hate his father so much, and why is Raphael ‘residing’ in Avernus?

As we know, Avernus is the armpit of Baator, a plane for exiles and outcasts.

I think Mephistopheles intentionally filled his relationship with Raphael with hatred, so Raphael’s ambition to overthrow his father would ignite and one day serve him. When Mephistopheles got the Crown of Karsus, unable to wield it himself, he set the stage for his son’s scheme—by casting Raphael aside, Mephistopheles set him on the path to steal the crown, with Mephistopheles only indirectly involved in overthrowing Asmodeus. Raphael would do the dirty work—taking over the other layers—before ultimately facing his father, who could then just snatch the crown from him. And yes, I do believe Mephistopheles is arrogant enough to think he’d still be more powerful than his son, even with a god-like artifact. He has that bloated of an ego.

BUT (Nr. 36,252), what about Asmodeus? Wouldn’t he step in and crush the plan?

Here’s the thing: Asmodeus generally doesn’t mind if his archdukes fight for control of their layers, as long as it doesn’t threaten his supreme authority or destabilize Hell’s hierarchy. In fact, he encourages a bit of rivalry and ambition among his archdevils, as infighting serves his purposes.

And can you imagine THE Asmodeus being worried about an over-ambitious cambion?

However, this leads to the TRUE instigator and the true subject of this ‘dissertation’…

… how Asmodeus is actually the ‘Mastermind’ behind the plot of Baldur’s Gate 3.

Section 3: Asmodeus doing things, just because

Joke’s on you—it’s been about Asmodeus all along, because even if he’d lose (not that he ever would—he’s just that powerful), he’d claim at the last minute that it was his plan all along. Losing trusted allies? What a bunch of traitors—perfect excuse to clean house. Losing Baator? Finally, he was sick of the job.

All jokes aside, Asmodeus being the cunning bastard he is, would likely pull off everything mentioned above.

To understand why he’d even bother, let’s take a quick (really quick, this is already getting too long) dive into his background and shenanigans in DnD.

Throughout DnD’s development from 1e to 5e, Asmodeus has gone through quite the evolution, eventually becoming a Greater Deity, the Embodiment of Evil, and one of the mightiest beings in existence, rivaled only by Ao.

While 5e keeps things vague to allow player interpretation, Asmodeus has consistently been the most powerful entity in the Hells—a schemer, strategist, and supreme manipulator.

(Here’s the only quote I’ll reference:) “[…] His sinister machinations could take centuries, if not millennia, to come to fruition, and his master plans extended across the entire multiverse. His labyrinthine, insidious intrigues could seem inexplicable to most outside observers, for Asmodeus let even his own servants stew in fear of his next move. With all the planes as his board, the Lord of Lies maneuvered the forces of evil like chess pieces in his grand designs, slowly and subtly manipulating everyone from deities to, when needed, lowly mortals.”

He’s described as being a thousand steps ahead of everyone. And while most of his plans serve greater purposes beyond even godly comprehension, some things he does just because—just for fun.

CONCLUSION

Of course Asmodeus knew Mephistopheles had the crown. Of course he knew Mephistopheles would never use it openly against him. And of course he knew Mephistopheles would keep scheming to use it indirectly, bringing his cambion son Raphael into the game.

Why would Asmodeus let all this happen, and why am I saying he’s the real mastermind?

Like already mentioned, Asmodeus often (indirectly) encourages and manipulates his archdukes to scheme and fight among themselves as a means to reinforce his dominance, foster survival of the fittest, and test loyalty within the infernal hierarchy. However, he maintains strict boundaries, and any conflict that risks his supreme authority, disrupts Hell’s role in the multiverse, or leads to excessive chaos would be swiftly and ruthlessly quashed. In Asmodeus’s mind, such rivalries are a useful tool—as long as they remain safely under his control.

In my view, the Crown of Karsus was never a real threat to him; this whole plot served his entertainment, tested loyalties, or helped him gauge his chess pieces.

And that’s how Asmodeus is the real mastermind behind the plot of Baldur’s Gate 3.

Thanks for reading this mass of nonsense ❤️

Why I even bothered with all this shit? It’s one of the key plot points in my longfic, Ah, You Devil!

[windienine]

the best game of 2024 was an hour-long visual novel demo, and i can't tell you how it ends

attack and dethrone god.

okay. oh my god. soul of sovereignty by ggdg (of lady of the shard & deltarune fame) is discounted for only a few more days, so i need to get this one out while the iron's hot.

so: i'm inviting you along on another journey. we're following a polite gentleman of the wizardly inclination (loïc) who is approached by a sickly woman in dire need (ysmé). all she requests, in her plea, is an escort to guide her to the nearby temple. his decision to support her may turn out to be the most important choice he ever makes.

... have you ever enjoyed the kind of narrative that traps two people with heavily contrasting motives and personalities together in an unbreakable contract? do you like stories of absolute devotion?

i could look at this shot forever ngl

... are you compelled by immersive speculative fantasy worlds where the use and study of magic heavily influences the rhythm of people's day-to-day lives?

(really intriguing magical linguistics system going on here)

... do you ever promise too much of yourself to others, sometimes, even when it's a bad idea?

... if it was possible -- if you could -- would you abandon your humanity for the power to change your world forever?

and, whatever you may feel in your heart about the above...

do you want to see behind the eyes of a hot trans girl as she bullshits her way into a truly volatile level of power and influence and gets everything she wants?

(+ her pet dilf lovely assistant)

if even one of these elicited a "yes," i think you'll love this story.

i'll go out of a limb:

i think, if you open up your heart, you'll find yourself falling for both of the leads. It's a game that really wants you to look at it from every angle, take it apart, and ask questions about loïc, ysmé, their stories, and what they believe to be true about the world and one another. subtext -- especially the charged subtext this story throws at you and hopes you'll piece together -- is a beautiful thing.

the number of talksprites in this demo is kind of staggering

the jrpg-inspired world of the mosaic and its surroundings is as vibrant as it is profoundly lonely, color folded into every facet of its character as you move through it. appropriately, it's really invested in a lot of questions that arise not just from high fantasy as a genre, but from the modern fantasy sensibilities of jrpgs and the interrogation of what divinity even means in a world where the gods are forces you can interact with and draw power from, however indirectly.

what can i even say? that gg and toby fox's collab score for the prelude is downright heavenly and made it onto my work playlist right alongside the deltarune ost the day it came out on bandcamp? that gg's art, especially their use of light, conveys every scene with vivid beauty?

i wouldn't be posting so much of it if i didn't want to eat every CG. oh my god. he's so pretty. it's not even fair

beyond all of that, i think the game's main resonance point with people is that gg's writing is genuinely thoughtful. they use art detail and deft character writing to convey everything about the leads, using the limited time you get with it to paint layers and layers of information on who these people are and why they make the decisions they do. soulsov's roughly an-hour-and-change of text, expressive talksprites, and lush CGs is infused with so much heart and so much horror and so much intrigue that it leaves you feeling like you're a part of this world, carried along for the ride right alongside the two leads. gg clearly really adores these two, and that level of passion makes everything loïc and ysmé do shine even brighter. in spite of (or perhaps because of) all their friction and flaws, they're easy to love.

(it's really fun to read aloud as a script, too! ysmé's a hoot.)

i hope you experience it with high expectations and an open heart. i don't think it will disappoint. it is, perhaps, just a little bit magical.

i hope you see it through to the end!

[my-plastic-life]

Inspiring Women: Rumiko Takahashi

New custom doll is here! I'm sure we all know about the Mattel Barbie Inspiring Women doll line, right? Well, I took it upon myself to create one of my own because I'm sure Mattel will never make one lol. Click here for behind the scenes on how I made this doll!

I opted to create an Inspiring Woman Barbie based off Rumiko Takahashi, the Japanese manga artist who created my all-time favorite manga and anime, Inuyasha. But that isn't the sole reason she's deserving of this title. Yes, that creation got me into all things Japan and introduced me to the entire anime genre, but this mangaka has excelled in her career for 45 years - a profession that has been primarily male-dominated since its inception.

I also created a box for her designed after the official Mattel Inspiring Women boxes. The outfit she's wearing is inspired by the one she wore during the 2023 knighthood honor she received. Accessories include her most recent book, Rumiko Takahashi: Colors 1978-2024, as well as her 35th anniversary book that comes with removable genuine sketches, plus the first volume of the Inuyasha manga (original Japanese version). The doll I used was the Asian sister of Ariel from the live action Little Mermaid, but I cut her hair and styled it differently, painted some age lines on her face, removed her pink eyeshadow, and gave her some glasses. I also gave her a curvy body with the same articulation that dolls in this series have - movement at the shoulder, elbow, wrist, hip, and knee. Because I'm that much of a perfectionist. :D

Doll in the Inspiring Women box. The scene behind her is an actual photo of Rumiko Takahashi's studio.

Back of the box, all made by me based on actual Inspiring Women boxes.

Fun facts: Takahashi has never been married, and she has stated in interviews that she doesn't plan to. In addition, she works with women exclusively as she writes and creates. She has specifically said that she wouldn't hire a male assistant because he would be "troublesome." She prefers the atmosphere of a studio of women working together without distraction. Her work stands out among other shonen pieces because of its creativity, complex characters, and nuanced romances. Her woman and girl characters are never accessories to the guy hero, which was often the case in early shonen stories, especially. Takahashi often likes to implement strong, independent, multi-facetted female characters in leading roles into her stories. Talk about girl power!

Now for more information as to why she's so deserving of having her own doll in my collection. :D Strap in, because this post is a doozy!

BIO: Rumiko Takahashi (born Oct. 10, 1957) is the best-selling female comic artist of all time, selling more than 170 million copies of her work in Japan alone, and one of the names by which to reckon the evolution of anime. She is one of the wealthiest women in Japan, all of her longer running manga have become TV series, and nearly everything she has written has been adapted into animation (OVA or TV). Perhaps more importantly, her influence and the nature of her series since 1980 have been cited as large contributors to the perception and acceptance of anime as a medium today.

Rumiko with her new Colors book. Outfit inspired by the one she wore when receiving her knighthood.

All of Takahashi’s work has become popular throughout the world, and with more than 20 years of publishing her manga art, she earned the title of The Princess of Manga.

Takahashi's professional career began in 1978 when she was a university student. That year, she worked on her first full-length series entitled Urusei Yatsura. It became one of the most loved manga and anime comedies in Japan. In 1980, when she began to publish regularly, she began her second major series, Maison Ikkoku. This series is now considered to be one of the all-time best manga romances.

As her stories appeared and attracted many fans, Takahashi grew in popularity as an artist while improving her writing and artistic abilities. In 1987, a huge year for her career success, three of her most well-known stories ended and she began work on Ranma ½. The series continued for nearly a decade until 1996, when it ended at 38 volumes. Ranma ½ and its anime adaptation are cited as some of the first of their mediums to have become popular in the United States. While publishing Ranma ½, Takahashi was hospitalized several times for peritonitis. But even during her second hospital stay, the series did not stop.

35th anniversary book has removable sketches - real photos actually drawn by the artist. The background is an actual photo of her basement (note all her figures!)

During the latter half of the 1990s, Takahashi began her fourth major work, Inuyasha. With this series, Takahashi is also often said to be the first woman to successfully set foot in the Shōnen genre and leave a lasting impact on it. To date, Inuyasha is her longest-running series, ending in 2008. In 2020, it received a sequel series titled Yashahime: Princess Half Demon.

In the basement library (actually in her home) with the first volume of the Inuyasha manga.

On July 30, 2008, Takahashi noted her 30th anniversary as a mangaka, and on July 8, 2009, during Shonen Sunday's 50th anniversary celebration, characters from three of her most popular series (Urusei Yatsura, Ranma ½, and Inuyasha) joined together in a short crossover to welcome everyone to the celebratory milestone. That same year, VIZ Media, one of the entertainment industry’s most innovative and comprehensive publishing, animation and licensing companies, announced the launch of a brand new imprint, Shonen Sunday, featuring the works of some of the top shonen manga creators in the world today. Takahashi's series RIN-NE was the first to be featured in the new imprint, and was the first manga novel ever to be published simultaneously in Japan and North America.

In her studio showing off genuine sketches. Featured here: Featured here: Lum from Urusei Yatsura, the Tendo house from Ranma 1/2, and Inuyasha character heights. This outfit is inspired by the one she wore at the Rumic World 30th anniversary ribbon-cutting.

Early in her career, Takahashi expressed that though she doesn't write love stories often, she loves a good love story. While none of her works are straightforward romances, many of her works early and later on have compelling romance subplots that are integral to the characters and world. Her works like Inuyasha and Ranma 1/2 are known for their romances. Takahashi's romances are varied, and they are trendsetting. They set the standard for popular romance tropes like slow-burn romances and love triangles. The love triangle between Kagome, Kikyo, and Inuyasha is one of the most iconic in all anime.

In her studio showing off genuine sketches. Featured here: Ranma from Ranma 1/2, Lum from Urusei Yatsura, and Mao and Kiba from Mao.

In her studio showing off genuine sketches. Featured here: Yashahime, Inuyasha 20th anniversary, and Inuyasha, Kagome, and Moroha.

Outfit inspired by the one worn during the Rumic World 30th anniversary ribbon cutting.

HONORS: * Takahashi won the New Comic Artist Award in 1978. * Winner of the 1994 Inkpot Award at The San Diego Comic Con in America. *In 2016, ComicsAlliance listed Takahashi as one of 12 women cartoonists deserving of lifetime achievement recognition, stating that "any one of her projects would be the career highlight of another talent." In 2017, Takahashi was inducted into the Science Fiction and Fantasy Hall of Fame as part of the 2016 class. *In July 2018, Takahashi was inducted into the Eisner Hall of Fame. She was previously nominated for entry in 2014, 2016 and 2017. *In January 2019, Takahashi won the grand prize at the prestigious Angouleme International Comics Festival in France, becoming the second woman and second Japanese manga artist to win the award at the festival. * In 2020, Takahashi was awarded Japan's Medal with Purple Ribbon. First awarded in 1955, this honor is awarded to individuals who have contributed to academic and artistic developments, improvements, and accomplishments. * Takahashi was inducted into the Harvey Awards Hall of Fame in October 2021. The Harvey Awards are one of the comic industry's oldest and most prestigious awards. Recognizing outstanding achievement in multiple categories, the Harvey's have been a fixture of the comic industry since 1988. * In April 2023, Takahashi was conferred the Chevalier de l'Ordre des Arts et des Lettres (Order of Arts and Letters) by the French government. She is the first female mangaka to receive this honor.

Books: 35th anniversary (with removable genuine sketches inside), Colors: 1978-2024, and volume 1 of the Inuyasha manga.

Genuine sketches, all fit inside the 35th anniversary book.

Source photos (first is from being bestowed a Knight of the Order of Arts and Letters, second is from the Rumic World 30th anniversary ribbon cutting in 2008):